1. “Kim Kardashian Doesn’t Realize She’s the Butt of an Old Racial Joke.” This may not come as a surprise to Grace Jones fans. For The Giro, Blue Telusma traces Jean-Paul Goude’s photograhs for Kardashian’s Paper Magazine cover story to some older, loaded photos from the photographer’s portfolio.
“First off, those of you declaring that these pictures are ’history-making’ need to chill out. There is nothing new or even original about this spread. Renowned French photographer Jean-Paul Goude just dug into his archives, pulled out some of his old favorites and recreated them with reality TV’s reigning It Girl. That’s it. At best, these pictures are recycled art, and at worst, they are lazy sensationalism—but innovative they are not. On the flip side—those of you saying that Kim Kardashian needs to put on some clothes simply because she is a mother also need to sip a big champagne glass of ’Girl, Bye!’ Because this antiquated idea that mothers are not allowed to celebrate their sexuality is ridiculous and naïve. How exactly do you think women become mothers? Immaculate conception? I’ve never been a fan of policing other women’s bodies, and I’m not about to start now. Ya’ll can have that.”
2. “The Film Society Launches The Close-Up, a Weekly Podcast Series.” Brian Brooks explains the Film Society of Lincoln Center’s podcast series for subscribers.
“The Close-Up launches its weekly edition today with several exclusives from this year’s New York Film Festival. Paul Thomas Anderson and Bennett Miller separately spoke separately with NYFF Director Kent Jones, while Laura Poitras sat down with FSLC Director of Programming Dennis Lim as part of the Film Society’s Directors Dialogue series. Each hour-long talk spotlights their latest work and more. Also available today is ’Discussing Godard,’ a panel that includes Goodbye to Language star Héloïse Godet as well as a group of esteemed critics talking about Jean-Luc Godard’s latest film and his overall career. ’It’s important to acknowledge that the Film Society has been hosting smart conversations for five decades,’ noted Deputy Director of the Film Society of Lincoln Center Eugene Hernandez. ’Through the passionate work of our late projectionist Don Schul and all of our projectionists, we have a rich collection of conversations that will be regularly featured in The Close-Up along with the latest conversations from recent and upcoming events, throughout the year.’”
3. “20 Years After the 1994 Cuban Raft Exodus.” Photographer Enrique de la Osa catches up with emigrants who fled Cuba.
“Two decades ago, in the midst of rioting and anti-government protests in Cuba, Fidel Castro announced that ’whoever wanted to leave, could go’—indicating that his forces would not prevent refugees from fleeing the country. More than 35,000 took the opportunity to leave, most heading to the United States. Men, women, and children packed into small boats and makeshift rafts and set off for Florida in the largest exodus from Cuba since the 1980 Mariel Boatlift. Reuters photographer Enrique de la Osa recently caught up with some of those 1994 refugees in Miami, photographing them at work and at home in their new country, 20 years later.”
4. “Is Television Sacrificing Its Golden Age to the Closed Loop of Pop Culture?” For Flavorwire, Jason Bailey ponders the question.
“Movies based on comic books. Movies based on other movies. Movies based on Broadway musicals. Broadway musicals based on movies. Movies based on television shows. Television shows based on movies. Television shows based on other television shows. Popular culture has always, to some extent, existed within its own echo chamber, but in the current climate, it’s hard to find anything that’s genuinely original, that’s not based, to some extent, on some other thing.”
5. “Plain Crazy.” Nick Pinkerton on Tommy Lee Jones’s The Homesman.
“Almost as soon as the limpingly elegiac opening credits have passed, Jones—whose filmmaking to date has proven every bit as eccentric as Dickinson’s punctuation—fairly buffets the viewer with images of everyday horrors on the high plains, scenes that come out of nowhere and are just as quickly gone. A woman screeching in some Scandinavian tongue falls to hysterics as she is forced to drag her mother’s corpse outside on a freezing winter night. Another woman weeps over three child-sized bundles laid out all in a row in a barn; we’ll later learn she lost her entire brood to diphtheria. Still another woman carries a noisy, purplish newborn to the outhouse, where she calmly disposes of it in the privy pit. These scenes, and others just as terrible, come at the viewer in a flurry—without knowledge of who these women are or where and when these events are meant to be taking place, their significance to Mary Bee’s story as yet unclear, all that comes across definitely is an impression of general dread. Their blurred passage gives these vignettes the aspect of whispered rumors passed along prairie outposts, things averred to in polite euphemism. ’When it comes to crazy,’ Mary Bee says of folks on the plains, ’they stay hushed up.’”
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