1. “What Is Safe Sex?” Rich Juzwiak on the raw and uncomfortable truth about Truvada.
“The understanding that I might benefit from using Truvada dawned on me slowly, like I was stuck permanently at 6 a.m. for a few months. It was other guys who helped prompt my decision, like the ones I had the sense not to fuck raw when they assumed that’s what we’d be doing on first meeting, or the ones who tried to fuck me bare so casually, it was like they were going in there to check their mail. It was the guy who told me, ’Yes, I’m negative—I was tested in February,’ in October. It was the guy that I hooked up with who then proposed a threesome via text: ’My friend said he wants to fuck raw.’ This was a few texts after I told him, ’I play safe,’ and he said, ’Yeah, me too.’ A few texts later, he admitted he’d already fucked raw with our prospective third.”
2. “I Attended the Oscars And They Nearly Drove Me Insane.” Eric Kohn on attending the Academy Awards.
“And when it dragged, I drank. Each time the commercials started up, audiences were able to head outside. Barred from reentrance until the next break, we were forced to watch the awards on a monitor with the volume down. As a result, I missed Lupita Nyong’o’s apparently heartfelt speech, and instead hung back with Radius’ Quinn and his business partner Jason Janego as they kept track of the winners in an ongoing bet. It was around then that we witnessed the only real upset of the night, Disney’s short film ’Get on a Horse!’ losing best animated short to the French steampunk odyssey ’Mr. Hublot.’ Janego won that round. For this pair, whose role in this business is constantly at odds with the sizable efforts of big studios, one could sense a certain eagerness in their anticipation of each outcome while enjoying the ride as spectators—the world within a world that defines the indie film community, even at the Academy Awards.”
3. “Resnais’ Secrets.” Jonathan Rosenbaum is grateful to still have one more Resnais feature to look forward to.
“One of the most personal moments in Vous n’avez encore rien vu—perhaps the most personal of all, occurring after a veritable string of coups de théâtre combined with diverse contradictory and paradoxical reflections about death—is the Frank Sinatra song heard over the final credits, ’It Was a Very Good Year,’ beginning with the line, ’When I was 17…’ Even though Resnais was in fact 19 when Anouihl’s Eurydice opened in Paris, during the second year of the German Occupation—a play that, at least in Resnais’ version of it, exudes the darkness, the cellar-like dinginess, and the paranoid taste of betrayals that one associates with that time and place, even more than Cocteau’s Orphée would remember it a few years later—the bitter irony of those lyrics encapsulates the sweet (and yes, personal) anguish of everything preceding them. “
4. “Pink Moon Is On Its Way.” Interview interviews Slant’s own Sal Bardo.
“Bardo says that his fourth short is his best to date. Pink Moon is a companion piece to Bardo’s feature-length screenplay, his first. Depicting an imaginary homonormative society in which heterosexuals are persecuted and reproductive rights are inhibited, Pink Moon is a love story of two teens who are forced to hide an unintended pregnancy. With the project’s Kickstarter campaign underway and rounding its final two weeks, we spoke with Bardo about maneuvering the limitations of an indie budget, finding his niche in the LGBT market, and ensuring that his ’first pancake’ came out looking perfect.”
5. “Kelly Reichardt: Genres, Geographies and the Evolution of a Filmmaker.” Where Reichardt’s latest, an elaborate tale of radicalism, eco-terrorism, guilt and paranoia, fits.
“Amongst other characteristics, Reichardt’s films can said to be excavations of a sort, formally exact, patiently unfolding depictions of landscapes in repose. The Pacific Northwest hinterland of Old Joy, the quaint suburbia of Wendy and Lucy, the parched desert expanse of Meek’s Cutoff: all evocative settings reflected in the simultaneously tranquil yet restless emotional lives of their characters. Night Moves doesn’t take Reichardt far from her natural surroundings (it too is set in Oregon), but it does evidence a concerted effort at narrative structuring and cohesion otherwise foreign to her prior efforts.”
Video of the Day: Iggy Azalea, ft. Charli XCX, get “Fancy” in this Clueless spoof:
Links for the Day: A collection of links to items that we hope will spark discussion. We encourage our readers to submit candidates for consideration to email@example.com and to converse in the comments section.