Dir. by Jean-luc Godard I’ve been an occasional participant in the Arts & Faith discussion forum for nearly a decade. They recently polled members to determine a Top 100 film list, and the results are notable. In previous incarnations, we used the vague criterion, “spiritually significant,” to determine what did and did not belong on […]
Kholin’s and Masha’s encounter is a desperate act of human contact, but it’s also vaguely degrading; it’s a moment of near transcendent delight, but it’s one that feels debased and compromised. I can’t make sense of it, really, though I feel compelled to, which is probably why Ivan’s Childhood is one of the few war films that I return to with any frequency.
John Cassevetes is my latest obsession. On a whim, I recently picked up a used copy of Faces, the story of Dicky and Maria Forst’s disastrous attempts to find peace and companionship outside of their loveless marriage. Shot entirely in stark, high-contrast black-and-white, and featuring Cassevetes’s trademark dialogue, Faces feels at times like a documentary — voyeuristic, discomforting, and brutally real.