Fandor’s ever-increasing selection of well-curated films can be daunting for new and long-time subscribers alike, especially given the obscurity of most of the selections. With that in mind, we...
Fandor’s ever-increasing selection of well-curated films can be daunting for new and long-time subscribers alike, especially given the obscurity of most of the selections. With that in mind, we...
Fandor’s ever-increasing selection of well-curated films can be daunting for new and long-time subscribers alike, especially given the obscurity of most of the selections. With that in mind, we...
Fandor’s ever-increasing selection of well-curated films can be daunting for new and long-time subscribers alike, especially given the obscurity of most of the selections. With that in mind, we...
Fandor’s ever-increasing selection of well-curated films can be daunting for new and long-time subscribers alike, especially given the obscurity of most of the selections. With that in mind, we...
To reword Leo Tolstoy, sometimes it feels as if all good movies (at least as they are typically defined by the mainstream) are all alike. But bad films, truly bad, haphazard, baffling films, are ...
http://moviemezzanine.com/spotlight-on-fandor-miami-connection/
The opening Steadicam shot of Millennium Mambo–of a young woman, Vicky (Shu Qi) skipping down a fluorescent-lit tunnel–is so distorted by slow-motion and a nostalgic voiceover that the scene ...
http://moviemezzanine.com/spotlight-on-fandor-millennium-mambo/
For all its formal inventiveness and the quality of its subject, the band Talking Heads, Stop Making Sense may be the best concert film of all time because it actually tells a story. It begins wi...
Mikey and Nicky certainly resembles a New Hollywood-era feature, with its time-worn earthen colors, drab lighting, and fidgety cameras. But as with the rest of Elaine May’s criminally small fil...
http://moviemezzanine.com/spotlight-on-fandor-mikey-and-nicky/
If Fugazi were the defining post-hardcore band, collecting the shards of numerous dead-end underground sub-movements back into a unified contradiction of melody and abrasion, then Jem Cohen’s I...