by Will Sloan It’s cliché to observe that Andy Warhol’s filmography resembles the evolution of cinema itself. Warhol begins, as did Edison and Lumière, with silent films that […]
Riding Lonesome – ‘Lonesome Cowboys’
by Caden Mark Gardner Lonesome Cowboys was shot in the Arizona winter of 1968, a year before Easy Rider became the counterculture crossover hit to polarize America, months […]
Warhol and Morrissey’s Horror Double Feature – ‘Flesh for Frankenstein’ and ‘Blood for Dracula’
by Nel Dahl Low-budget horror cinema’s potential to unexpectedly reverse its initially mixed reception is epitomized by the strange afterlife of Paul Morrissey’s Andy Warhol-produced double feature, Flesh […]
Red Sauce and Sugar Blues – ‘Andy Warhol Eats a Hamburger’
by Tobias Rosen In March, during the most stringent period of Germany’s lockdown, my partner decided to visit her parents for a week and leave me in our […]
‘Kiss’
by Ruairí McCann The kiss, that flashpoint of intimacy, communication, and the present tense, has been the subject of art since its prehistory. In Andy Warhol’s Kiss (1963-64), […]
Cannes 39/90/? — An Interview with Étienne Gaudillère
by Yoana Pavlova If the invention of cinema towards the end of the XIX century is the crowning achievement of man’s attempts to master reality, the XX century […]
The Awkward Altbau – Urban Structures and Dreams of the Future in Konrad Wolf’s ‘Solo Sunny’ (1980)
The destruction of a building: more important than the brief moment of the blast are the hours leading up to the detonation.
JD 2.0
Since the official start of the pandemic one year ago, I have found myself thinking about Jeanne Dielman, 23 Commerce Quay, 1080 Brussels (1975) every now and then.