QUARANTINE DOUBLE FEATURE: ON THE ROAD AGAIN

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“So much of America’s idea of itself comes from the mythology of the open road. Ever the transcendentalist, Lynch sees the interstate as a sprawling symbol of humanity’s interconnectedness, a place to reach out and renew. The more embittered Eastwood is focused on highways that don’t lead anywhere, places where we can run but cannot hide.” – WBUR’s The ARTery, 04/09/2020

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QUARANTINE DOUBLE FEATURE: MARTIN SCORSESE AFTER MIDNIGHT

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“I thought we might keep the nocturnal vibe going by choosing two Scorsese movies that actually take place after midnight. 1985’s giddy, exasperating After Hours is an anomaly in the director’s canon in that it’s an out-and-out comedy, albeit an extremely nervous one, while 1999’s Bringing Out The Dead is one of the filmmaker’s most underappreciated works.” – WBUR’s The ARTery, 04/03/2020

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ARE SNAKES NECESSARY?

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“I kept seeing these characters as played by members of De Palma’s regular stock company, with roles for Nancy Allen, John Lithgow, Gregg Henry and Melanie Griffith. The penultimate chapter so resembles one of the director’s distended, crosscut climactic montages that a character even says it feels like they’re seeing it in slow-motion.” – WBUR’s The ARTery, 03/31/2020

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QUARANTINE DOUBLE FEATURE: THE COMFORT OF CHRISTOPHER WALKEN

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King Of New York is a rotgut update of 1930s gangster movie tropes, while The Comfort Of Strangers is a lush literary adaptation drenched in Euro-arthouse perversity. What the pictures have in common are knockout lead performances by Walken, leaning into his outré eccentricities like he’s just arrived from outer space. You can’t take your eyes off him.” – WBUR’s The ARTery, 03/27/2020

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TRAVELING LIGHT: THE FILMS OF KELLY REICHARDT AT THE HFA

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“Reichardt movies are immersive experiences, inviting you to settle in and let your metabolism power down to their pace. These are films of loaded glances and pregnant pauses, where even the slightest gestures become seismic. The stories are told in the spaces between the dialogue. Everything’s happening when it seems like nothing’s going on.” – WBUR’s The ARTery, 03/05/2020

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CANE RIVER REDISCOVERED AT THE MFA

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“This 1982 romantic drama was independently bankrolled by a wealthy Louisiana family of mortuary owners and made with an all-black cast and crew, most of them working in their positions for the first time. It’s a vital artifact from a lost part of film history, a tantalizing glimpse of a nascent black independent cinema movement that almost was.” – WBUR’s The ARTery, 03/03/2020

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2019 MURIEL AWARDS: COUNTDOWN TO BEST PICTURE

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“Suffused with a twilight longing, the most moving moments for me are the film’s evening montages, whether it’s the sun going down to the sound of Jose Feliciano’s ‘California Dreamin’’ or the achingly lovely parade of neon signs clicking on at dusk as the Stones sing ‘Out Of Time.’ All good things will soon come to an end, probably sooner than you think.” – The Muriel Awards, 03/01/2020

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