Having recently wrapped its 54th incarnation, the San Francisco International Film Festival remains a vital nexus of premiering discoveries, acclaimed holdovers from other festivals, remastered classics, and sundry movie-lovers’ events. The last category proved particularly varied and tantalizing this year, with the palatial Castro Theater supplying the stage for such cinephile happenings as diligent preservationist Serge Bromberg’s lecture on the 3D aspects of earliest silents, a rather polarizing State of Cinema address by indie stalwart Christine Vachon, and a baroque sound-vs.-image concert that melded live Tindersticks performances with clips from the works of Claire Denis.
Though things kicked off on a forebodingly precious note with Beginners, Mike Mills’s opening-night salvo of concentrated quirk (adorably uncloseted patriarchs! Ironic pixies! Acerbic dogs!), screenings of marathon wonders like Raúl Ruiz’s droll labyrinth Mysteries of Lisbon, Andrei Ujica’s sardonic documentary The Autobiography of Nicolae Ceausescu, and Rainer Werner Fassbinder’s sprawling sci-fi dystopia World on a Wire promptly made it clear that watching movies at SFIFF is anything but a featherweight affair.
I had already caught the Ruiz and the Ujica at Toronto last year, but I leapt at the chance to experience Fassbinder’s elusive epic of paranoid futurama, a long-unavailable item in the late German wunderkind’s oeuvre. Adapted from a novel by Daniel F. Galouye and originally released in 1973 as a two-part TV production, it imagines a world of cloddish noir detectives and sleek virtual projections in which the inquisitive protagonist (Klaus Lowitsch) gradually comes to seem like a renegade microchip in a corrupt, computerized system. Rocking a canny mise-en-scène that’s at once glossily cutting-edge (circular camera movements, glass panes, and flickering monitors feature prominently) and transparently contemporary (what we clearly see is the 1973 of Munich corporate offices and systematic anxiety; here, as in Godard’s Alphaville, the future is now), Fassbinder’s film startles as a truly Borgesian, trenchant political vision of order as artificial reality.
Pair it with Christoph Hochhäusler’s The City Below, and you have an arresting double bill of Teutonic capitalism dissections. No less deadpan than World on a Wire’s robotic characters, Hochhäusler’s triangle—a middle-aged banking plutocrat (Robert Hunger-Buhler), a young troubleshooter (Mark Waschke) and his wife (Nicole Krebnitz)—enacts a serpentine waltz of desire and disgust in which the lines between carnal seduction and business takeover blur pitilessly. “Neutrality has to be violated,” somebody is overheard saying at an art gallery, and purgative emotional devastation is indeed one of the goals of this provocative film, coolly observing numb people fucking each other over—and just plain fucking each other—while slithering toward an apocalyptic punchline that achieves the kind of sickness-in-the-guts laceration Neil LaBute has been pursuing in vain for years.
While The City Below’s gallery of predatory relationships and weary monsters suggests distant echoes of Nosferatu, Federico Veiroj’s A Useful Life brings to mind the Murnau of The Last Laugh, though with the loss of one’s uniform posited as something necessary and possibility-opening. Set largely inside a Montevideo cinematheque plagued by faulty projectors and dwindling patrons, it follows an art-house curator (played by real-life Uruguayan film critic Jorge Jellinek) as he goes through the literally monochromatic daily chores of testing theater seats, asking for donations, and setting up retrospectives. Told that the place he has seemingly dedicated most of his adult life to will be shutting down, the protagonist is forced into the outside world and, at first discombobulated, but with increasingly assured delight, to see and feel things he might know only through movies. A friend called Veiroj’s gentle comedy an “anti-cinephile film”; I see it as an absolutely cinephiliac work, but one from a mature vantage point in which movie-love goes hand in hand with an awareness of the fragility of cultural institutions and a faith in romance extending beyond silver screens.
Perhaps only the documentary Let the Wind Carry Me, with its alluring behind-the-scenes glimpses of Flowers of Shanghai and In the Mood for Love, came close to matching A Useful Life in movie-buff pleasures. A fond portrait of Lee Ping-bin, the wizardly Taiwanese cinematographer behind many of the most visually astounding moments in the works of Hou Hsiao-hsien, Wong Kar-wai, and Tran Anh Hung, among others, the film pays eye-filling tribute to the man’s understanding of color and light while, in interviews with his family, tactfully hinting at the toll a searching artist’s dedication takes on his personal life.
The opening of The Future promises gruesome whimsy: A caged cat named Paw Paw (played by a puppet’s furry limbs, voiced by writer-director Miranda July) laments its impending death while hoping for potential new owners. That said owners are played by July and Hamish Linklater as a Los Angeles couple with matching curly coifs and New Age singsongs doesn’t exactly lower the twee level. It’s something of a small miracle, then, that July’s follow-up to Me and You and Everyone We Know manages to find its groove, sidestep the cutesy trapdoors it sets for itself, and pull these free-floating bits of oddball pathos together into an acutely yearning, strange, and even dark whole. A singular harlequin presence on screen, July brings an eye for mercurial forms and a sense of rhythm to what may ultimately be the most surreal study of artistic and parental dread since Eraserhead.
The Dish & the Spoon could have used some of its controlled weirdness; the difference between The Future and Alison Bagnall’s slice of indie vaudeville is the difference between performance art and playing dress-up. The dish of the title, I suppose, is mumblecore axiom Greta Gerwig, who gets to show off her splenetic side as a pissed-off housewife who takes to the road in a string of aimless, semi-improvised brushes with a fellow damaged naïf (Olly Alexander, who resembles some discarded teenage Bob Dylan apparition from I’m Not There). It starts out not unpromisingly as a gender-reversed companion piece to Buffalo ’66 (which Bagnall co-wrote), but quickly dissolves into an alternately spastic and drowsy mulch of Sundance-y clichés.
The festival’s strongest offering by a female auteur came from Catherine Breillat, who follows her exceptional version of Bluebeard with The Sleeping Beauty, a similarly biting, deconstructive take on Charles Perrault enchantment. “I’m real and the rest is false,” the pint-sized, prepubescent heroine (Carla Besnaïnou) says as she makes her way through an oneiric maelstrom of clocks, trains, trolls, and snow queens, though such absolute dichotomies prove increasingly mysterious in the film’s playful scrutiny of the crawlspace between childhood and adolescence. “Delightful” is not a word often associated with Breillat’s work, but it’s a fitting description of the netherworld the filmmaker conjures up here, a fey and cruel dreamscape that combines provoking yet tranquil inquiries into accepted notions of budding sexuality with feisty comic asides closer to Zazie dans le Métro than to Fat Girl.
Another coming-of-age fairy tale of sorts could be found in Agustí Villaronga’s Black Bread, which sets up camp in the rural, Franco-controlled Spanish spaces previously explored in Spirit of the Beehive and Pan’s Labyrinth. Filtering the era’s political upheavals through the unformed gaze of an 11-year-old boy (Francesc Colomer), it brims with evocative images and half-buried horrors, from the intimations of angel wings on an ailing teenager’s shoulder blades to the underground caves where the villagers’ hate crimes took place. All the elements are in place for an unnerving blend of wonderment and dread, yet Villaronga’s surprisingly stodgy direction (a far cry from the haunted intensity of his 1987 shocker In a Glass Cage) keeps them from coalescing.
Directorial self-portraits were another motif running through the SFIFF, nowhere more blatantly than in Lech Majewski’s The Mill and the Cross. Set in brutal medieval times envisioned as a series of digital tableaux with the seams deliberately showing, it envisions the auteur as illustrator, witness and chronicler, following Renaissance painter Bruegel (a grave Rutger Hauer) as he turns the brutalities around him into a vast, living canvas. Traces of Ruiz’s Hypothesis of the Stolen Painting, Rohmer’s The Lady and the Duke, and the works of Jarman and Greenaway can be felt, though Majewski’s superficially striking ruminations on art feel academic next to them.
The filmmaker literally takes the center stage in the Romanian Aurora, which casts its own director, Cristi Puiu (The Death of Mr. Lazarescu), at the center of a murder story that goes even further than Police, Adjective in systematically scrapping the genre trappings from its policier format. Largely composed of long takes of brick-faced people framed in doorways, it’s an endurance test that nevertheless invites fascinating contemplation for its darkly comic view of crime (and cinema) as manual labor, with characters methodically building the proverbial walls that entrap them.
The most inspiring of these authorial theses, however, was Patricio Guzmán’s Nostalgia for the Light, which has the vital Chilean documentarian seeking the overlapping zones between the political and the cosmic. “I’m convinced that memory has a gravitational force,” Guzmán says at one point, and his film proceeds as a philosophical examination of the vastness of the universe and a nation’s forgotten landscapes and troubled history, a historian-astronomer’s plea for the need to gaze at the stars in the sky as closely as the graves in the ground. The result is graceful, resonant, and humbling.
A pair of curiously complementary studies in battle-of-the-sexes longing, obliviousness and disillusion rounded out my festival experience. Hahaha finds the prolific Hong Sang-soo in a structurally intrepid yet airy mood, fracturing its Seoul-set narrative into romantic triangles featuring aspiring poets, kooky tour guides, and even a ghostly appearance by legendary Korean military figure Admiral Yi, who materializes briefly a la Play It Again, Sam as the deadpan Bogie to the picture’s fledgling Woody (Kim Sang-kyung). In what is easily Hong’s funniest, but not deepest, effort, men and women break up and get back together, ogle each other, and get spanked for their trouble, and toast it all (again and again) as a pleasing memory.
The drinks that go down amiably in Hahaha get caught in people’s throats in On Tour, SFIFF’s closing night feature and a considerably less winsome take on male desperation and fortuitous connections. Mathieu Amalric, who also directed, plays ringleader to a transient circus of outcasts as a boozy, self-destructive TV producer touring France with a garrulous gaggle of American burlesque performers. A likably rambling survey of ephemeral community, a portrait of the artist as washed-up family man and pimp, and a quasi-documentary about brassy stage personas, Amalric’s film also functions as a reminder of the festival’s interest in works that venture behind the curtains of spectacle.
The San Francisco International Film Festival ran from April 21 – May 5.
Reflections in a Quilt: John McPhee’s The Patch
There’s something uncommonly relaxing about many of McPhee’s patient elaborations of things known and unknown.
“But beyond the flaring headlines of the past year, few are aware of who Richard Burton really is, what he has done, and what he is throwing away by gulping down his past and then smashing the glass.” This is one of those quotes, which, through its sheer heft and style, threatens to turn any accompanying review into a redundancy. To find other lines that meet its towering standard, seek its source: The Patch by John McPhee. There’s no shortage of arresting remarks in this nicely heterogeneous collection of writing. One sinks into the book, riveted, but also races across it as its fascinations multiply.
The first section is called “The Sporting Scene.” Those typically uninterested in sports or sports writing, like myself, shouldn’t be deterred by the title. As I discovered through other recent encounters with McPhee’s ballyhooed writing, the author has a knack for inexorably moving readers beyond their biases. Two-part New Yorker articles like “Oranges,” “The Pine Barrens,” and “Basin and Range,” which were later turned into books, are studious and propulsive. Fine-grained matters of geology or citrus aren’t exactly simplified in these articles, but wading through the density becomes an irresistible prospect thanks to the author’s intelligibility, wit, enthusiasm, and atmospheric touches. For an example of the latter, consider McPhee’s focus on the “unnatural and all but unending silence” of the Floridian orange groves that he visited. What’s more, he often conveys a certain sense of respectful understanding, as when he mentions that he has “yet to meet anyone living in the Pine Barrens who has in any way indicated envy of people who live elsewhere.”
Similar virtues spruce up the “The Sporting Scene.” Its pieces include emphases on fishing, football, golf, and lacrosse. McPhee honors the athletic endeavor by carefully illuminating its particulars. He busily supplies facts, anecdotes, ideas, and biographical details. In “The Orange Trapper,” for instance, he discusses his hunt for errant golf balls. It’s an engaging topic. He has learned, among other things, what occurs when you take a saw to a golf ball. You find the world: “Core, mantle, crust—they are models of the very planet they are filling up at a rate worldwide approaching a billion a year.” Other jolts arrive through the often remarkable conclusions to his paragraphs and pieces. The ending of “The Orange Trapper” is an especial wonder—a thrilling mobilization of words that elicits laughter and awe.
There are also bears: “Direct Eye Contact” is a compact assortment of hopes and advisements concerning bears in New Jersey, and it concludes on a sweetly uxorious note. Indeed, one never knows where any of these pieces are going. In “Pioneer,” meanwhile, McPhee ponders Bill Tierney’s choice to begin coaching the University of Denver men’s lacrosse team. “How could he leave Princeton?” McPhee asks. “It can be done. And Tierney knew what he was doing.” Those lines showcase the occasionally pithy, pleasantly chiseled style of his prose. It’s a considered design that favors clarity, structures hairpin turns toward new discursive trails, and pairs well with punchlines. In “Phi Beta Football,” one of McPhee’s colleagues promises to deliver him “a nice piece of change” if he figures out a suitable title for his book. “I went away thinking,” McPhee tells us, and then adds, “mostly about the piece of change.”
The recounting of sporting events is likewise augmented by the author’s playfulness. “Pioneer” throws us this line: “But Syracuse exploded—one, two, three—and the game went into ‘sudden victory’ overtime, the politically uplifting form of sudden death.” So transporting and genial is McPhee’s writing that the specifics of any given match never weigh down the reading, nor do his more elaborate remarks. “It’s a Brueghelian scene against the North Sea,” he declares in “Linksland and Bottle,” his piece on the 2010 British Open, “with golfers everywhere across the canvas—putting here, driving there, chipping and blasting in syncopation.” What’s even better is his sensitivity, in the same paragraph, to the fine distinctions between the manner of Scottish and Californian galleries as they observe rounds of golf. Suddenly, his words become almost numinous, and no grace is lost.
The second section of The Patch is called “An Album Quilt” and it encompasses a dizzying mixture of short pieces. None are available in any of McPhee’s other books. In an introductory statement, the author compares these pieces to the dissimilar blocks of a quilt. He notes that he “didn’t aim to reprint the whole of anything”; he sought out “blocks to add to the quilt, and not without new touches, internal deletions, or changed tenses.” This section is quite distinct from “The Sporting Scene,” but no less extraordinary in its overall effect. A piece about Cary Grant starts things off. Boyhood encounters with Albert Einstein are up ahead.
There are more standouts than can be briefly mentioned here, including an evocative overview of the craftsmanship that McPhee discovered within the original Hershey’s Chocolate Factory. The author’s clipped expressions of wonder enliven that piece: “Gulfs of chocolate. Chocolate deeps. Mares’ tails on the deeps.” A little later, he mentions “granite millstones arranged in cascading tiers, from which flow falls of dark cordovan liquor.” One can imagine Don Draper reading through this with poignant interest. In another entry, a series of succinct blurbs about tennis luminaries, Rod Laver’s childhood is crisply set against his eventual stardom: “Had to wait his turn while his older brothers played. His turn would come.”
And so one just leaps from piece to piece, and, along the way, discovers scenes from different periods in McPhee’s life and career. An encounter with two New York City policemen—this likely occurred in the ‘60s or early ‘70s, given the “familiar green and black” on the cop car—is particularly memorable. It begins with the author’s recollection of locking his keys inside his car, which, he notes, had been parked “in a moted half-light that swiftly lost what little magic it had had, and turned to condensed gloom.” After that characteristically precise fusion of atmosphere and psychology, he describes scrounging around for wire so as to open the door. The sudden arrival of the policemen created a dilemma: Would they view McPhee, who had been wedging a coat hanger into the car, as a thief or the hapless owner? “The policemen got out of the patrol car,” McPhee tells us, “and one of them asked for the wire.” From there, the situation undulates a couple more times before concluding through a sparkling punchline that’s supplied by one of the officers. The story is over before you know it, but its brisk and detail-oriented pleasures are echoed throughout much of the book.
In the title piece, meanwhile, McPhee movingly writes about his father, but also about fishing a pickerel out of a patch of lily pads. Here and elsewhere, granular descriptions become byways into a range of enthusiasms, histories, and hearts. The author, of course, frequently registers himself through the infinitesimal details, and through the humor that he yokes to affection. “‘Fuck you, coach!’ Quote unquote” is a message that McPhee once emailed to Bill Tierney. Great warmth radiates below the mantle of those words.
This, among sundry other qualities, keeps one reading. There’s also something uncommonly relaxing about many of his patient elaborations of things known and unknown. And there is, both within the book’s individual pieces and across its varied totality, a sense of constant renewal and revelation. As McPhee notes down somewhere amid the blocks of his quilt, “I could suddenly see it, almost get into it—into another dimension of experience that I might otherwise have missed entirely.”
John McPhee’s The Patch is now available from Farrar, Straus and Giroux.
The 10 Most-Read Slant Articles of 2018
Our most-read articles of 2018 comprise pretty much everything we do best.
Like last year, it wasn’t the most highly praised or viciously excoriated film, album, or TV show that garnered the most attention among Slant readers in 2018. It was a so-called “average” star rating of a video game that led to our most-read—or, rather, looked at—article of the year. More predictably, lists proved to be increasingly popular, particularly among cinephiles. Aside from a few pieces that didn’t make the cut—like our career-spanning interview with Jodie Foster and our five-star review of Synapse Films’s Blu-ray restoration of the original Suspiria—this list comprises pretty much everything we do best. Alexa Camp
10. The 50 Greatest Horror Movies of the 21st Century
Into the new millennium, horror films have retained their power to shock and outrage by continuing to plumb our deepest primordial terrors, to incarnate our sickest, most socially unpalatable fantasies. They are, in what amounts to a particularly delicious irony, a “safe space” in which we can explore these otherwise unfathomable facets of our true selves, while yet consoling ourselves with the knowledge that “it’s only a movie.” Budd Wilkins
9. Album Review: Mariah Carey’s Caution
At a mere 10 tracks, Caution is Mariah’s leanest album in 25 years. With the exception of the formulaic “With You,” which sounds like an outtake from E=MC2, the R&B and adult contemporary-style ballads that launched (and re-launched) her career have been largely replaced here by textured, midtempo grooves. Caution feels like the album Mariah has wanted to make all along: one that throws caution to the wind and sees her embracing her inner weirdo. And, ironically, it took her ending up back at Sony Music to do it. Sal Cinquemani
8. Game Review: Far Cry 5
With this entry, the Far Cry series has suddenly decided to crib story ideas from real American nightmares: the Ammon Bundy standoff, Jonestown, the Heaven’s Gate cult, Waco, the Westboro Baptist Church. It indulges a certain level of ejaculatory N.R.A. fantasy about a day when the Second Amendment saves the world, when all those guns hoarded by frightened men, all those survivalist bunkers, all that cynical preparation for the collapse of society proves useful. A regular supply item in this game is called a Prepper Pack. Major secrets are hidden in bunkers filled with canned food and ammo. These little hat tips toward the gun-toting survivalist sect might’ve been worthy of an eye roll had the game come out, say, prior to 2016. But at this particular moment in American life, those tips of the hat feel downright sinister. Justin Clark
7. All 90 Best Picture Oscar Winners Ranked
It’s a rare type of cinephile who wasn’t introduced to the idea of film as more than just idle entertainment by the ritual of the Academy Awards. And it’s an even rarer type of cinephile who didn’t soon thereafter vehemently reject the Oscar as the ultimate barometer of a film’s artistic worth. Those of us who started off with The Godfather, Schindler’s List, All About Eve, or Casablanca all eventually got around to Out of Africa, Around the World in 80 Days, The Greatest Show on Earth, Cimarron, and Cavalcade. First loves being first loves, we still find ourselves regressing if for only one night a year, succumbing to the allure of instant canonization even as it comes in the form of repeated slap-in-the-face reminders of Oscar’s bracing wrongness: Gladiator, Braveheart, Chicago, Crash. In that sense, consider this project part cathartic exorcism and part sheepish capitulation to the role the Oscars have played in our lives. If we had to sit through every one of these movies, the least you can allow us is the chance to show you our scars. Eric Henderson
6. Film Review: Aquaman
The best point of comparison for Aquaman is Black Panther, another superhero movie about a king of a forgotten realm reclaiming his throne. But whereas Ryan Coogler’s surprisingly affecting superhero film restored weight to both the choreography and the drama of the genre, Aquaman remains adrift, so much fantasy flotsam and jetsam floating before our eyes. Pat Brown
5. The 100 Greatest Video Games of All Time
When compiling this list, my colleagues and I elected to consider more than historical context. Greatness, to the individual, isn’t just about impact on some nebulous past. It’s as much about feeling, about the way a video game can capture the imagination regardless of genre or release date or canonical status. The titles on this list come from every corner of the medium—represented for the precision of their control or the beauty of their visuals or the emotion of their story. We’ve chosen to cast a wide net, so as to best represent the individual passions incited by saving planets, stomping on goombas, or simply conversing with vivid characters. Steven Scaife
4. Film Review: Avengers: Infinity War
What is this, a crossover episode? After 18 films, the overlords at Marvel Studios have gathered almost all of their indentured servants, err, star-studded stable together into the ever-crashing, ever-booming, and ever-banging extravaganza Avengers: Infinity War. Whether you look at this whirling dervish and see a gleefully grandiose entertainment or a depressing exemplar of the culturally degraded present moment will depend on your investment—in all senses of that term—in Marvel’s carefully cultivated mythos. Keith Uhlich
3. TV Review: Tom Clancy’s Jack Ryan
If Jack Ryan never gets around to offering its audience a definition of a swift transaction, that’s because all that matters to the series is that it’s a tool used by bad guys, whom only Jack Ryan can stop. Despite paying cursory service to humanizing its principal characters, Jack Ryan is mostly interested in a battle between broad notions of good and evil. It thrives on the tension of Jack’s chess match with bin Suleiman, reducing an entire nation’s efforts to combat terror to a personal beef between two archetypes. Michael Haigis
2. Every Pixar Movie Ranked from Worst to Best
If The Incredibles was essentially a superhero riff on male mid-life crisis, Incredibles 2 primarily concerns male anxiety about women taking over traditionally masculine roles. Brad Bird’s film also touches heavily on the uncertainty and doubt that many women feel about pursuing their dreams at the expense of spending time with their families. These are weighty topics to pursue in an animated action-comedy, and Bird, with a light tone and deft touch, manages to give them their due. This is a fleeter, funnier film than the original, and the director gets considerable comedic mileage out of Jack-Jack’s wild capriciousness, as evidenced by Incredibles 2‘s single most hilarious sequence, in which the baby uses its multifarious abilities—fire, lasers, multiplying, turning into a gremlin—to battle a feral raccoon just for the hell of it. On the occasion of the film’s release, join us in revisiting the Pixar canon, ranked from worst to best. Keith Watson
1. Game Review: Red Dead Redemption 2
For all of the significant improvements Red Dead Redemption 2 has made to an open-world template, however, it still maintains Rockstar’s bullish commitment to a clunky control scheme. Across what’s now four games and two console generations, the company’s characters have lumbered along in what’s meant to convey the weight of a real person in contrast to the light, effortless controls of so many other games. But the result is artificial rather than convincing. Studios like Naughty Dog have proven capable of giving characters a consequential sense of weight without making it a challenge to navigate around a table or requiring you to hold down buttons to move at acceptable speeds. Coupled with middling gunplay feedback and a few too many stealth segments, the chunky act of playing Red Dead Redemption 2 doesn’t feel good so much as it feels, eventually at least, tolerable. Scaife
Top 10 Radiohead Music Videos
To celebrate Radiohead’s induction into the Rock and Roll Hall of Fame, we take a look back at the group’s best and most innovative music videos.
Twenty-five years ago, the world was introduced to Radiohead by way of their debut single, “Creep.” Thom Yorke and company may have soured to their very first modern rock hit, but as we said in our list of the Best Singles of the 1990s, for which the song ranked at #37, “Creep” is rivaled only by “Every Breath You Take” as the ultimate kind-of-obsessive/kind-of-romantic crush anthem, with guitarist Jonny Greenwood’s perfectly timed blasts of electricity turning it from slightly creepy to threatening. The track peaked on the Billboard pop chart in September of 1993, a full year after its initial release, and Radiohead would go on to become one of the most influential bands in rock history. To celebrate the band’s induction into the Rock and Roll Hall of Fame, we take a look back at their best and most innovative music videos.
Editors’ Note: This article was originally published on July 24, 2013.
10. “Burn the Witch” (Dir: David Mould). “Stand in the shadows/To the gallows/This is a round-up,” Thom Yorke cautions at the start of “Burn the Witch,” with all the paranoia and politically shaded intrigue we’ve come to expect from the Radiohead frontman. Directed by Chris Hopewell, the music video for the track depicts a government official sent to inspect the strange goings-on in a small village, where he’s burned alive in a giant wooden statue in a scene reminiscent of the 1973 cult classic The Wicker Man. The clip features stop-motion animation in the style of the 1960s-era U.K. children’s show Trumpton. Sal Cinquemani
9. “Paranoid Android” (Dir: Magnus Carlsson). Radiohead commissioned Swedish animator Magnus Carlsson for this bizarre and somewhat graphic video, which sees the titular protagonist of Carlsson’s series Robin encountering various unsavory or unearthly characters, including a prostitute in a tree, a deranged businessman, and an angel flying a helicopter. Cinquemani
8. “House of Cards” (Dir: James Frost). When the “House of Cards” video came out, it struck me as a tech geek’s gimmick, but in retrospect, its motion-capture technique is used for deeply human ends. First we see two faces in close-up, their physicality rendered as blue-ish data points. Then, indistinct bodies at a party and a whole suburban landscape being wiped away in Etch-A-Sketch fashion. It’s a kind of digitally envisioned nightmare: Every pixel of everything we know, instantly erased. Paul Rice
7. “No Surprises” (Dir: Grant Lee). Lo-fi simplicity tends to work best for Radiohead’s live-action videos. In “No Surprises,” we get to watch Thom Yorke gasp for breath as a water chamber fills and releases around his head. It’s a sly sadomasochistic dream that could be his, or that of plenty of Radiohead haters everywhere. Rice
6. “Daydreaming” (Dir: Paul Thomas Anderson). In this video for 2016’s “Daydreaming,” Paul Thomas Anderson’s camera follows Thom Yorke through numerous locales, from hotel hallways to laundromats. The images, lucid and confrontational, exude an almost gestural quality as they cut from interior and exterior spaces, with Yorke waltzing in a sleep-like torpor toward a hole—or spacious studio igloo?—somewhere on a snow-capped mountain. The world here appears at once real and imagined, and by the time the fire within the hole lights Yorke’s face and the song grinds to a halt, Anderson dramatically reaffirms most of our beliefs about Radiohead’s music as, above all else, the prettiest soundtrack in the world to one man’s devotion to his own alienation. Ed Gonzalez
5. “Just” (Dir: Jamie Thraves). There’s a Kafkaesque absurdity to the simple concept of “Just” that gets and stays under the skin. A man lies down in the middle of a monochromatic city sidewalk. People trip on him and ask how he is and why he’s there. Finally, he tells the crowd (though we never know, since the subtitles cut out), and they all lie with him, presumably in conjoined doom. Rice
4. “Knives Out” (Dir: Michel Gondry). Thematically evocative of the director’s 2004 film Eternal Sunshine of the Spotless Mind, the elaborate, seemingly single-take “Knives Out” juxtaposes emotional and physical hardship via Michel Gondry’s signature surreal imagery, including singer Thom Yorke’s head replaced by a giant heart in which he stores a Polaroid photograph of his fiancée, whose critical condition he may very well have been responsible for. Cinquemani
3. “Pyramid Song” (Dir: Shynola). Thom Yorke and company have long been champions of animation, and “Pyramid Song” is their best, most heartfelt work in the form. A man—or a thing (the figure could be human or beast)—dives into a lost civilization, wading through bones to a home where he watches TV. CG allows for meticulous detail, but the gorgeous design by artist collective Shynola is purposely murky, full of unknown layers, and like Final Fantasy: The Spirits Within, released the same year, it suggests a ruined past we can never get back. Rice
2. “Fake Plastic Trees” (Dir: Jake Scott). Jake Scott, noted music video director and son of Sir Ridley, has said that his striking clip for Radiohead’s “Fake Plastic Trees,” filmed in an aircraft hangar in Van Nuys, California, is an allegory on death and reincarnation. His claim is borne out by images of colorful characters, old and young, strolling the aisles of a neon-lit supermarket, being watched on surveillance cameras, and eventually carted off to a heavenly looking “exit.” Cinquemani
1. “Karma Police” (Dir: Jonathan Glazer). Director Jonathan Glazer claims that this creepy revenge clip, in which a car slowly follows a man running down a desolate road only to have the tables turned thanks to a chance gasoline leak, was inspired by a bad dream. His remarkable use of point of view implicates the spectator in the video’s action, but it’s the spooky way with which he fashions a Möbius strip from karmic irony that makes “Karma Police” Radiohead’s finest contribution to the music-video medium. Cinquemani