20. For the second time in a row, Africa is celebrating filmmaker Ousmane Sembène with the project “Sembene across Africa”. The film originally shared a disc with Emilio Gómez Muriel and Fred Zinnemann’s Redes on that set, and while the difference between the two transfers is mostly negligible, this new, standalone release allows for a higher bitrate that adds sharpness and clarity to the image, and the colors, particularly reds and yellows, are more vibrant. Africa from the beginnings of the Atlantic slave trade to the end of Colonialism in the late twentieth century is examined. This self-effacing submission to subject and environment is key to Engel’s films. In its unsettling ending, Céline and Julie Go Boating shifts gears one last time, with Céline chasing after Julie this time, and the effect is unflinchingly purgatorial. Joined by a handful of non creatives and creatives alike, we sat down and were sucked into this profound story of a true African legend: Ousmane Sembene. As for the film’s DTS-HD Master Audio 7.1 lossless soundtrack, it’s dynamic and immersive through and through. Nearly all of his protagonists wield cameras at one point or another, and nearly all of them also harbor an obsession with American westerns: Joey and Peggy both carry cap guns and long for the glow of the television screen, while Al speaks fondly of his encounters with dubbed cowboy pictures back in his native Italy. But the rest of the script is neither witty nor naturalistic enough to really pull this off, and the allusions feel more like a lazy attempt at cultivating cultural cachet. To book tickets telephonically call 0861 670 670 or 010 446 1462 Tribolium castaneum is known, to be the most cosmopolitan of pests. We use cookies on our website to give you the most relevant experience by remembering your preferences and repeat visits. His work is characterized by a concern with ordinary decent people who are victimized by repressive governments and bureaucracies. Skip right past the short featurettes included here (“A Promising Vision,” “Two-Sided Transformation,” and “Balancing Act”), as they’ve all been lazily cobbled together from EPK footage and find the cast and crew dishing canned insights on the film’s making and themes, and head straight for writer-director Emerald Fennell’s commentary track. documentary was screening for free in communities across the African continent; we gathered to discuss Ousmane Semebene's legacy as the Father of African Cinema and his first feature film "Black Girl". Naturally, Katherine’s overbearing, protective nature only exacerbates her child’s adolescent sense of rebellion, driving Connie to spend as little time at home as possible. Soul, directed by Pete Docter and co-directed by Kemp Powers, quickly reveals that Joe is anything but mediocre. On the disc with the main event, Criterion happily licensed the best supplement from BFI’s release, an audio commentary with critic Adrian Martin that exhaustively covers the film, from its roots in artistic movements like surrealism and commedia dell’arte, to its contemporary and retrospective critical reception, to its spiritual peers and successors in cinema. This sense of colliding lives not only resembles the way that the Instant Composers Pool “trips” from one song into the next, but also the films of Mike Leigh, which similarly follow a kind of unorthodox formula in order to appear spontaneous. Necessary cookies are absolutely essential for the website to function properly. That child grows up to be Ford Brody (Taylor-Johnson), a soldier who doubles as the film’s human fulcrum, a constant witness to the bedlam enacted as Godzilla hunts the flying male MUTO and its eight-legged and very-pregnant counterpart. Hosted by Cables & Camera and The Cube Microplex. Third-act salvation feels obligatory because stories must end before dinner or bedtime; conflict and danger, on the other hand, feel more genuine because we are never truly out of their presence, and can’t very well speak to or understand those beyond life’s final curtain. Indeed, in its scruffy, sordid little way, Satan’s Blood may just be the Discreet Charm of the Bourgeoisie of Satanic sexploitation thrillers. SEMBENE! Criterion’s vibrant transfer of a new 4K restoration makes the blistering heat from the Senegalese summer sun feel downright palpable, with every bead of sweat rendered in vivid detail. Gracefully handling these interlocking challenges would require maturity and self-sacrifice, and Al is simply not up to the task. For these gloriously substantial few minutes, it’s jazz set to animation rather than the other way around. Warner Bros.’s 4K upgrade brings theatrical-level clarity to Edwards’s bold reboot of Toho’s Godzilla franchise. Understanding that a film as long as Céline and Julie Go Boating needs as high a bit rate as possible, all the documentaries and interviews appear on a second disc. With the popularity of online streaming services like iROKOtv and the recent expansion of Netflix into 30 African countries, more Africa-made films should be available to … It’s somewhere around here that Soul, co-written by Docter, Powers, and Mike Jones, starts to veer down its own wrong path, abandoning its accessible storytelling, along with that vitalizing jazz soundtrack, for a confusing maze of pseudo-spiritual planes of existence. When the right moment comes, they rescue the fille before she’s injected with poison, and then take her boating to celebrate. The threat of lifelong mediocrity has tightened its grasp around every corner of Joe’s life. Brody’s primetime-soap good-kid persona is the first up for deconstruction, followed by the male-privilege-as-juvenile-fun image that Mintz-Plasse embodied as Superbad’s “McLovin.” It should be no surprise when a pair of supremely likable TV stars, New Girl’s Max Greenfield and Glow’s Chris Lowell, appear late in Promising Young Woman as deeply toxic men with ties to Cassie’s traumatic past. In the gut-busting final third, Céline and Julie enter the house simultaneously and tag-team the nurse’s part, mucking up their lines and causing general mayhem while Olivier and the wicked Camille and Sophie appear oblivious to the changes. “Sembene Across Africa is designed to inspire anyone working for African progress,” Samba Gadjigo, the co-director of SEMBENE! Postcolonial Studies @ Emory 3.0 now aims to include crowd-sourced content for its section on “Book Reviews” and “The Digital Bookshelf.”, African American Studies and Postcolonialism. Even in Smooth Talk’s more escapist moments, however, Chopra calls attention to the pitfalls of such an approach to life. When Joe catches his big break auditioning to play with a pro quartet, headlined by imperious jazz saxophonist Dorothea Williams (Angela Bassett), the film follows him into “the zone.” Not since Fantasia has a Disney film treated music with such reverence, as the seed of all the visual flowering that follows. These are underlined and you can click the titles or country names to read my thoughts on each choice. Once fully loaded up, the table can be sorted by any of the displayed columns. Refusing to face death, Joe hurtles into the void toward the Great Before, where not-yet-born souls obtain their personalities in a Youth Seminar. As Puerto’s screenplay invents increasingly implausible obstacles to prevent the couple from leaving this hellish estate, the film takes on an atmosphere of almost Buñuelian absurdism, as if some combination of demonic authority and bourgeois politesse were conspiring to trap these two in a cycle of sex, violence, and occult weirdness. A recent conversation between author and screenwriter Boubacar Boris Diop and sociologist and feminist activist Marie Angélique Savané sticks to Sembene’s politics, stressing his importance in the youth movements of the late 1960s and his desire to use cinema to reach impoverished communities where illiteracy was common. When a poor mother begs Ibrahim for money a second time, he wonders aloud, “When begging becomes a trade, what will come of this country?” Sembène richly contemplates that question, not only illustrating what has become of this country, but how many Senegalese have been transformed into warped versions of their former French oppressors. All of the film’s flaws would’ve been much more forgivable had it shown more of the empathy, curiosity, or sense of humor that also happened to be defining characteristics of the Smiths’s music. Cassie and, by extension, Promising Young Woman rely on the thesis that such men can be rendered impotent (in multiple senses of that word) merely by the forced recognition that there actually is someone behind the half-closed eyes of their victims. The uncompressed monaural soundtrack is serviceable, with the only obvious flaws being a handful of moments where some of the line readings are a bit muddled. Hearing melody in the wail of sirens and rhythm in the cacophony of a jackhammer, he has music in his, well, soul. But Joe’s joy, and soon the film’s, is cut short when he plummets down an open manhole, and finds himself—or, rather, his soul, depicted here as a blue-green turnip-shaped substance with glasses and a fedora—on the pathway to the Great Beyond. Some would date its rise in the Western academy from the publication of Edward Said’s influential critique of Western constructions of the Orient in his 1978 book, Orientalism. Anderson’s decision to make Artemis and her Army grunts our focal points here feels unnecessary, as the film might well have worked as mildly enjoyable fantasy escapism if we were simply dropped in among the Hunter’s band of sand pirates and the monsters they hunt. The film’s editing, which often creates poetic meaning between seemingly disparate images, bears the influence of early Soviet cinema and the French New Wave. SEMBENE! But while most Pixar films pride themselves on presenting rich, fantastical responses to real-world wonderings, Soul keeps conjuring up visions that don’t correspond precisely enough to anything in the real world. This is an even more impressive feat considering the fact that the radioactive guest of honor doesn’t show his mug for nearly an hour, not long after one of the winged MUTOs emerges from the hotbed of a declassified nuclear facility in Tokyo. Sembène recognizes that even though Senegal became fully independent in 1960, the country was still shackled to its French colonizers. For him, as for Rosencrantz and Guildenstern, and us, there’s an infinite number of “next times” and also none. Inside, a coterie of cinema’s practically-finest, movies promising an experience beyond most others – movies that are almost perfect.These are the ones to warm hearts, stir the soul, … Brody channels the nice-guy vibes that he exuded on The OC as his character slides in next her, playing the part of the charitable and comparatively sober good Samaritan. This groundbreaking program brings African cinema to communities throughout Africa and the Diaspora, free of charge for one weekend a year. Cookies Policy. Eventually, Connie retreats back into the house but remains near the screen door, leading to images of Arnold pressed against the mesh as Connie hides just off to the side of the door frame, suggesting a perversion of a Catholic confession. With their perfectly teased hair and trendy clothes, they look far more like stereotypical ‘80s kids at the mall than outside it. Be among the first to hear about our unique events and screenings: subscribe to our newsletter. Joyce Chopra’s bracing portrait of the pitfalls of developing womanhood gets the marquee treatment that it deserves, elevating it from a hidden gem to a crown jewel of ‘80s youth films. I Need a Ride to California opens with Lilly waxing poetic on the very film we’re about to see, arguing in her airy way that all actors ultimately play themselves, and that films should embrace the drama of the everyday. This is a list of banned films.. For nearly the entire history of film production, certain films have been banned by film censorship or review organizations for political or moral reasons or for controversial content, such as racism.Censorship standards vary widely by country, and can vary within an individual country over time due to … More than once, Connie’s bravado falters when she catches wind of just how intently some teenage boys and even men are gawking at her, and at times it feels as if Smooth Talk is a slasher movie waiting to erupt. Anderson Screenwriter: Paul W.S. The booklet also contains a New York Times article that Oates wrote after the film’s premiere about watching screen adaptations of her work, as well as an essay by poet Honor Moore that mixes memories of personal encounters with Chopra and the filmmaker’s work with an intimate reading of how Smooth Talk speaks to her own adolescent experiences. This powder keg of a film gets an uneven audio-visual presentation but a confident and enlightening commentary track from Emerald Fennell. Engel’s overarching subject is the child within, an innocence he repeatedly links to both photography and movies. This is, too, the hell designed for the protagonist of Adolfo Bioy Casares’s 1940 breakthrough novel The Invention of Morel, who’s doomed to watch a group of people preserved by film-like technology play out the same dinner party on an otherwise deserted island night after night. As pinks and purples swirl around Joe and as his fingers coax unexpected harmonies from the keyboard (Jon Batiste provides the impassioned playing), Soul gives itself over fully to his music. I continue to update… Meanwhile, a New Age-inflected Mystics Without Borders subplot, with Graham Norton voicing the tripped-out Moonwind, adds a daringly vibrant psychedelic color palette to the gentle blues and greens of the Great Before. Still, this glutted, ultimately bland spectacle is hardly worse than those put out by Marvel and DC. Gadjigo’s 2015 documentary, Sembene!, co-directed by Jason Silverman, is a biopic focusing on Sembene’s life and work, exploring the themes developed in the biography through interviews and extensive footage from Senegal, Burkina Faso, and France. Ousmane Sembene is commonly referred to as the Father of African cinema. We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, consider becoming a SLANT patron, or making a PayPal. “There must have been a moment at the beginning, where we could have said no,” he says to Rosencrantz. In reality, Kiss ended up losing his nerve in the parking lot and turning himself into police, whereas the character modeled after him in Kijak’s film carries his unorthodox plan to fruition. DVD, with extras! (Not for nothing is Rivette’s film subtitled “Phantom Ladies Over Paris.”) But this can only go far. While Engel appreciated such worldly acclaim—and rode it to an Oscar screenwriting nomination (shared with Orkin and Ashley) and a box office gross that quadrupled the film’s budget—his passion and attention ultimately remained on his home turf, and the three subsequent independent narrative features that he produced bring the same rapt urban observation on display in Little Fugitive to bear on other Big Apple neighborhoods. Though one brief scene toward the end of the film shows an attempted hate crime by some local toughs with baseball bats, this ends up being foiled so easily that it feels more like a kind of wish-fulfillment. Sembene was a Senegalese man who was a longtime acquaintance of Sir Malcolm Murray. Though Mandabi zeroes in on Ibrahim’s victimhood, it doesn’t see him as a virtuous innocent, as he’s mocked for his narcissism and sexism, and at one point is even referred to as “a hopeless show-off.” But the film also recognizes that his materialism, among other things, is a symptom of a society where usury and bribes are used by those in positions of power to plunder helpless individuals, who are left to fight among themselves for the scraps that remain. A playful trombone bounds through the silence. Every morning, Céline or Julie rings the doorbell at a Parisian mansion, and she’s spirited inside. The Dolby Atmos track is as thunderous as one might expect, with particular emphasis on the subwoofer channel from the bass-heavy score and the deafening thuds of Godzilla and other monsters stomping around. I just knew it was a documentary about an African filmmaker. Nothing here is particularly informative, nor are the two deleted scenes at all memorable. The Collected Films of Morris Engel and Ruth Orkin. In fact, the near-inescapable stereotype of the young yet wise soldier saving his helpless wife and son is bucked here completely, as Olsen’s Elle, Ford’s wife, ends up taking on decisions just as tough as those her husband is grappling with, miles away from one another. Full details for screenings will be available at The Sembene Project website: www.sembenefilm.com. Through the Sembene Across Africa project, a three-day event, schools, museums, cultural centers and NGOs are presenting free public screenings, house parties and free streaming of the award-winning documentary film SEMBENE! Little Fugitive is a montage-oriented film; rarely do any of its scenes last longer than 30 seconds, and it generates a ping-ponging rhythm in the alternation between shots of carnival rides and landscape shots juxtaposing Joey’s smallness against the unfamiliar hustle-bustle of the world around him. From June 8 to 10, 2018, African organizations will support the initiative with screenings of his films, notably “Xala”. Some would date its rise in the Western academy from the publication of Edward Said’s influential critique of Western constructions of the Orient in his 1978 book, Orientalism.The growing currency within the academy of … Girls at 12, a brief study of middle-school girls as they begin to enter the world of boys and puberty, is a direct and obvious precursor to Smooth Talk. Cast: Helena Howard, Ellar Coltrane, James Bloor, Thomas Lennon, Elena Kampouris, Nick Krause, Joe Manganiello Director: Stephen Kijak Screenwriter: Lorianne Hall, Stephen Kijak Distributor: RLJE Films Running Time: 90 min Rating: NR Year: 2021. At the Youth Seminar, flat, geometric figures with transparent features direct the bulbous souls to where they can pick up personality traits (at the Excitable Pavilion, for example). Soul gets a reference-quality presentation, but the supplements package (and packaging) lacks in, well, soulfulness. Criterion has accorded Mandabi with a vibrant new transfer and a wonderful assortment of extras that help to contextualize the works of Africa’s most important filmmaker. However sharp Mandabi’s critique of Senegal’s colonialist-enabled sociopolitical order may be, its examination of how the avarice inherent in this brutalized landscape has further frayed the country’s social fabric is more pointed. That curiously compelling lack of coherence also enhances the film’s nearly nonsensical plot. Ibrahim has infuriating encounters with everyone from the photographer who takes his picture for his license to openly corrupt workers at city hall, but no humiliation is more unsettling and defeating than the vulturous behavior of his friends and family, who seek to fleece him before he’s even cashed the money order. With their backs against a brightly colored wall, Céline and Julie then share the magical candy and are thus allowed to “relive” the day’s events inside the house. He seems like a genuine exception to Cassie’s implicit belief that all men are trash, and it’s at this point that Promising Young Woman takes on the feel of a rom-com. Satan’s Blood opens with not one but two runtime-padding prologues—the first a brief lecture on occult matters from real-life parapsychologist Fernando Jiménez del Oso, and the second a gratuitous Satanic sex ritual that bears no relationship to the rest of the film. The disc also comes with a new program, Praise Song, featuring outtakes from the 2015 documentary Sembène!, and Sembène’s 1970 short film Tauw. “In 1947-48 the … Though a little rough around the edges, the doc delivers some intriguing insights into the film’s whirlwind production process, including Alberti’s revelation that she had no idea there’d be any nudity when she signed up for the project. Meet the Moroccan Who Hitch-hiked, Cycled and Skated Across Africa Non-Stop for 3 Years. There are a few mentions of Cleo’s difficult home life, and hints that one of her friends might be struggling with his sexuality, but there doesn’t seem to be any reason for them to be invested in this music instead of literally anything else. TV/Streaming Home Entertainment Consumer Guide: February 9, 2017. An awkward reunion is initiated when Ryan inadvertently insults her post-med-school career, then charmingly endeavors to make up for the slight. Coltrane impressively tempers Dean’s sincerity with a smirking self-consciousness, while Howard has a spontaneous, infectious energy. On their excellent commentary track, film historians Samm Deighan and Kat Ellinger offer a joyful appreciation of the film’s lurid delights while also placing it in the context of Spain’s post-Franco exploitation boom. Primarily known for his unadorned snapshots of New York City street life, a practice that established him as a mainstay of the Photo League and the city’s thriving pre- and post-war photography scenes, Engel, like Al, turned his sights to the potential of amateur filmmaking technology and scored a runaway hit with his 1953 feature debut, Little Fugitive. Considered to be the ‘father of African cinema’, Sembene was a self-taught filmmaker who became... Sembene Across Africa . The Unseen). Friday, June 9, 2017 at 6:00 PM – 9:00 PM UTC+02. As the newly minded Oscar nominee recorded the track in November, prior to Promising Young Woman’s theatrical release and it spawning many a think piece, you may inevitably feel as if she’s selling some of the thornier aspects of her film short. Take Two. Chaz Ebert and Matt Fagerholm | 2018-06-28 An article about the "Sembene Across Africa" screenings that took place this month. Mbacké Sembene. Writer-director Emerald Fennell’s Promising Young Woman is a scorched-earth polemic that not only subverts expectations of the rape-revenge genre it loosely fits into, but also spits these expectations back in the viewer’s face. At the end of the story, the little girl is dead. One delicately observed scene after another touches on a different facet of this evolving dynamic, with Peggy turning on a dime from obnoxious neediness to withdrawn confusion and Ann struggling to maintain composure as she attempts to negotiate her love for her daughter and her strengthening romance. By clicking “Accept”, you consent to the use of ALL the cookies. Walk away 15 minutes into the film, at the end of what would make, on its own, a snazzy, sublime short, and you’ll have seen Pixar’s greatest, purest tribute to the arts. Besides its needle drops of the Smiths’s big hits and deeper cuts, the film shows its familiarity with the band’s catalog by interweaving song titles and memorable lyrics into its dialogue. Don’t let the women’s smirks and wordplay fool you: The fact that art is eternal often makes it more horrifying than life itself. We also use third-party cookies that help us analyze and understand how you use this website. Detail is sometimes hazy owing to the endemic properties of the shooting format, but the transfer will be a revelation to anyone who ever suffered through bootlegged versions of the film that abounded in smeared textures and artifacts. The film’s clearly exfoliating the contrivance of these characters, a point underscored by their increasingly pallid skin tones throughout, but it also suggests both how fiction can leave an emotional imprint on life and also how it can seem buckled by realistic pressures. And always the song skips at the same point in the sampled refrain, leaving us to feel as if we’re stuck in a loop of unfulfilled aspiration alongside the Senegalese couple at the center of the film. Anderson and Milla Jovovich have hit the reset button than they’ve booted up anything new. That the stakes are so high is, I suppose, proof of how seriously Rivette took ad-libbing. Jovovich plays the pointedly named Captain Artemis, leader of a squadron of Army Rangers whose vehicles are caught in a sandstorm straight out of Mad Max: Fury Road. For a while, it seems that Soul, in its treatment of the Great Before, will have a similar capacity for digging into big, unanswerable questions with care and clarity. Sherman Story of a teenage boy and a dolphin set against the background of … If men who watch Promising Young Woman see themselves in some of its many dirtbags, that’s no doubt intentional. This year, the Sembene Across Africa team reached tens of thousands of viewers through nearly 140 screenings in 32 countries and free digital streams of the films. It ends with a series of propulsive, gunshot-like snare hits and the drummer yelling, “Salt peanuts!”. The transfer highlights Puerto’s exceptional use of color to enhance the mood of individual scenes. Making it out of the arachnoid den alive but pierced by a bug pincer, Artemis self-cauterizes herself by pouring gunpowder into her open wound and igniting it—a bit of field medicine that can’t be described as improvised, because surely she got the idea from John Rambo’s identical action in Rambo III. But as the categories of souls keep expanding, the rules for these overlapping worlds grow foggy, and by the time that Fey’s voice is coming out of Joe’s body in a switcheroo that’s never quite explained, it’s hard not to feel as if the film has lost track of its internal logic. In this retelling of Godzilla’s origin story, the filmmaker renders the likes of Bryan Cranston, Elizabeth Olsen, and Aaron Taylor-Johnson near-insignificant witnesses to the rivalry between Godzilla and two parasitic monsters known as MUTOs and the erupting, rampaged landscapes that his camera passes gracefully over. The fragmented nature of Mory and Anta’s existence reaches its peak expression when the former chooses to stay behind in Dakar, leaving Anta to sail off to France on her own. Music’s extraordinary impact is palpable when Joe’s face lights up as one of his students, Connie (Cora Champommier), leans into a trombone solo, and as Joe’s fingers escape his anxiety in their own improvisatory pursuit. This website uses cookies to improve your experience while you navigate through the website. Experience the best of independent cinema here. It’s not clear whether the film ultimately offers a call to arms to pursue a passion or a warning that creative passion alone doesn’t provide for a fulfilling life. Engel’s overarching subject is the child within, an innocence he repeatedly links to both photography and movies. The triumph of Gareth Edwards’s Godzilla is its distinct perception of size and space, elements that have been increasingly scarce in recent summer seasons at the movies. Newly scanned from the original 35mm camera negative, Vinegar Syndrome’s 4K restoration finds Carlos Puerto’s shocker looking brighter and cleaner than ever on home video. The 99% Club: An Ode to the Almost-Perfect Movie. With its lacking sense of suspense, undermotivated dynamic compositions, bland narrational voice, and cartoon monsters, Monster Hunter is a purely graphic experience, like a ‘90s Image comic. 映画史において長らく政治的、道徳的、人種差別といった内容により検閲や審査機関によって一部の映画が上映禁止と … Engel, sitting solo in the director’s chair, would take yet another formal leap with Weddings and Babies, for which he was able to utilize sync-sound recording thanks to a development for his handheld camera made possible by technician Otto Popelka. He’s tired of his uninspiring job shooting hallmark moments and wants to graduate to a life of caméra-stylo self-determination, while Bea, eyeing a more committed married life, is trying to find her place in that fantasy, and Al’s lonely mother (Chiarina Barile, an elderly Italian immigrant whose earthy presence is a testament to Engel’s gift for casting nonprofessionals) awaits death in a nearby nursing home. Famously, Citizen Kane topped … Whatever their other merits, Engel’s films are, above all, perceptive street-level time capsules of a city, capturing the lives of ordinary working New Yorkers and the textures of their environment with an intimacy and affection that was clearly informed by his lived-in familiarity of the day-to-day happenings of the city. Of course, that’s all to apt, as this a story about a woman who carries an unwieldy burden. Sembène’s tragicomic rendering of Ibrahim’s ordeal is an excoriating condemnation of colonial social architecture in Senegal—namely the bureaucracy that forces impoverished, often illiterate, individuals to travel often great distances in an almost deliberate attempt to subjugate them. Rivette’s masterpiece makes its long-overdue debut on Region 1 with an excellent A/V presentation and a bounty of superlative extras. Because this is America, and because this is the America of the mid-‘80s, consumerism is crucial to this process. One comedic sequence finds Mory and Anta visiting a gigolo friend (Ousseynou Diop) and taking his money and fashionable clothes before returning to their village in a gaudy car that they’ve also stolen. The mall-set scenes, marked by their aggressive interior lighting and the tacky color schemes of walls and shops, are strikingly vibrant. The two engage in a fruitful dialogue, and some friendly disagreements, about Mambéty’s ambiguous portrayals of mankind and his films’ often challenging depictions of agitation and violence. After Weddings and Babies, Engel’s own future was anything but laid out. Now imagine the same play without the benefit of a warhorse like Hamlet. It arrives less than two years after the influential group saw its legacy tarnished, even for many devotees, by frontman Morrissey’s controversial comments on race and immigration in the U.K. The disc also comes with new and archival interviews, including a Q&A with Chopra, Joyce Carol Oates, and Laura Dern moderated by TCM host Alicia Malone that covers Oates’s original short story, Chopra’s approach to adapting it, and Dern’s memories of her first real lead part and how her inexperience aided her performance.
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