Our white stretch limousine sat on the west side of the New York State Thruway, navigating the stagnant stream of compact cars and minivans packed with teenage punkers on their way to the Warped Tour in Buffalo. We, a handful of 10-year punk scene vets, had been attending shows since before Warped Tourâs inception a decade ago, and therefore felt a certain degree of bitter cynicism about the affair. The free limo didnât help our attitude problem, either. We tormented our chauffeur with tracks from NOFXâs War on Errorism, their delightful 2003 album rife with references to being an aging punk. My favorite is the albumâs opener, “The Separation of Church and Skate,” which wonders, “When did punk rock become so safe?” I began to lament that NOFX had finished their Warped dates a few days prior, and that I would have to spend the day surrounded by 10,000 shitty reminders of who I was ten years ago.
When we arrived at the front gate, the Darien Lake parking lot swirled with dust kicked up by kids jumping around to some band who hadnât changed their clothes since 1977âat least someone was keeping it real. We wandered around the labyrinthine mess of mini-tents, each hawking T-shirts from one of the 90+ bands set to perform that day. This yearâs Warped featured ten stages, a significant expansion from the four-stage tours of the mid-â90s. It became clear that none of the kids craning their necks to see the wipeboard band schedules would catch any of the bands on the six smaller stages except by pure accident. Apart from a few local acts with a draw, stages like the “Uproar Stage” and the “Smartpunk.com Stage” remained either hopelessly lost between merch tents or desolately exiled to the farthest reaches of the parking lot.
We spent the early afternoon shading ourselves in the canopied seating area, enduring the horrid amphitheater acoustics. I dragged my tired bones to the front of the crowd for Rise Against, who played on a ten-foot stage to a relatively tame crowd. They did their best to rock out, but live music can only be so special when my head is tilted vertically as if in the front row of a movie theater. With ringing ears and cricks in our necks, we wandered over to the mainstages to catch the end of Anti-Flagâs set. Upon arrival, I was not surprised to find the band singing the obnoxiously repetitive titular lyrics to their usual finale, “Youâve Gotta Die for the Government.” I was, however, miffed to discover that the closest tent to the mainstage was occupied by the Marines.
“What the fuck are the Marines doing here?” asked one of my comrades. The obvious answer would have been, “Leaning on a Hummer,” but the real reason was that they were recruiting. These Marines, just like most of the Warped audience, seemed totally unaffected by the irony of recruiting kids to die for their government while the theme song to this process wailed in the background. Had it been my first Warped Tour so many years ago, I probably wouldâve gone over and started an argument with them before getting my ass unceremoniously handed to me. But as one of the oldest non-parents in the audience, and therefore one of the least enthusiastic, I let it slide. I figured that one of the 10,000 teenage punks would pick up my legacy and shirk the pull-up bar for a good old-fashioned anti-establishment protest. Unfortunately, the only punks I saw at the Marines tent were not sparking fiery debate, but were instead getting lessons in the flexed-arm hang.
After hours of trudging through the parking lot (mysteriously covered in gravel so large I can only describe as moon rock) and looking over the energetic patrons, I began to understand what the head of recruitment over at Marines headquarters already knew. Warped Tour, the well-known traveling punk festival, had gone decidedly establishment this year. I donât mean “establishment” in the sense of major label acts or bands played on the radioâthat stuff has been at Warped for years. I mean establishment as in collaborating with the system, rather than defying it.
Ironically, this collaboration has been ushered in by none other than NOFX, who spent the past year creating Punkvoter.com, a partisan effort to register punks and get them into the ballots booths in November. Many bands used their brief half-hour sets to offer encouragement to vote and get Bush out of office, though few offered any explicit support for John Kerry. Even Canadian bands like Billy Talent begged the crowd to realize that the actions of the American government affect the entire world (and therefore please donât vote for Bush). The most politically inflammatory comment of the day came from the Swedes of (International) Noise Conspiracy, when frontman Dennis Lyxzenâin between splits and mic tricks-requested that the audience kick Bush out of office…and then kick Kerry out of office right after that.
The vibe of the day was participatory citizenship, which has become a growing mantra among political bands. Gone are the days when “punk” meant apathy, anarchy, and fucking the system. Now it means voting and creating change within the system. (And, by the way, it means songs about girls, if Warped Tour mainstage performers Yellowcard, Taking Back Sunday, and New Found Glory have anything to say about it.) In some ways, “change within the system” is a more mainstream message, but to most of these sub-18-year-olds, it has no appeal. How excited can someone get about the November election if they have to wait four more years to participate? Teenagers have always responded well to the politics of alienation and revolution because both are equally accessible to all ages, and both are particularly appealing to teens. Voting? Not so much. No wonder the bands singing about girls are the big draw this year.
The Marines came to take advantage of the many kids who came to see Good Charlotte and Thursday and who wonât be burning their draft cards next year. Punk is just as much a force on the radio and TV as it is on the turntables of the alienated undergrounders, and the crowd was a mixed bag of green-haired band-shirt-wearing geeks (a.k.a. reflections of myself at my first Warped Tour) and attractive, preppy boys and girls politely standing on tiptoes to catch a look at Yellowcardâs violinist. Bands like Rise Against understood this, too, and offered some choice advice to this mixed mainstream audience: “You know, thereâs a lot of good shit here at Warped Tour, and thereâs a lot of bullshit. Check out all the good bands playing, and stay away from the bullshit, like Samsung and the Marines.” Sure, the Sex Pistols wouldâve incited a riot and the subsequent hospitalization of the Marines at the hands of a teenage mob, but a lot has changed in the last 30 years.
By the end of the day, I had maneuvered myself to the front of the crowd to see Bad Religion, the band that (many years ago) got me into this punk rock mess in the first place. Due to the lack of slam-dancing throughout the day, I knew that this was not the year where I would get my teeth knocked out in the circle pit. I was clearly the oldest one up front, dancing to the oldest band at Warped Tour. Bad Religion played old classics and brand new hits, and the crowd erupted like popcorn, with crowd-surfers frantically popping to the surface on the sea of hopping kids. As I had multiple crowd-surfing teens land on my head while I fought to stay standing, I suddenly felt like Warped Tour was still a little dangerous and subversive, if only from the inside of the crowd.
After Bad Religion finished, we walked past the horde of kids singing along to Warped closers Good Charlotte, feeling that we had retained a bit of our past, and most importantly, had stayed punk in the process. And as I ducked into the limo that idled outside the gate waiting for us, I smiled in satisfaction. Nothingâs quite as punk as scamming a free limo ride, a free ticket into the punk show, and riding in style while covered in moon dust and other peopleâs sweat. Oh, and if youâre wondering, this bitter punk rocker will be voting in November, thanks to Punkvoter.com.
Interview: Dave Franco on The Rental, His Genre Influences, and Future Projects
The actor discusses collaborating with Joe Swanberg and a wildly talented cast on his directorial debut.
After a series of bit roles in television and film throughout the aughts, Dave Franco won himself a breakout role in Phil Lord and Chris Millerâs 21 Jump Street that seemed to prime the actor for a future as the star of many a stoner comedy. And while he has memorably flexed his ad-libbing skills in comedies such as Neighbors over the years, the actorâs recent workâmost memorably in 6 Balloons, alongside Abbi Jacobson, and Joe Swanbergâs HBO series Easyâpoints to his desire to stay ever-changing and not limit himself.
Now, with The Rental, the 35-year-old actor adds director to his list of credits. Co-written with Swanberg, the film finds Franco drawing inspiration not only from many a horror classic, most memorably John Carpenterâs Halloween and Stanley Kubrickâs The Shining, but also from the directors he says heâs been lucky to have worked with over the years, including Barry Jenkins, Noah Baumbach, and his older brother, James Franco. The Rental is a slow-burn horror thriller about a weekend vacation that goes awry when two brothers and their significant others rent a seemingly perfect Airbnb property somewhere along the Pacific Coast.
Shortly after The Rental premiered to more than 1,300 guests at the Vineland Drive-In in Los Angeles, I had a chance to speak with Franco about shooting of his film, collaborating with Swanberg and his wildly talented cast, his future directorial ambitions, and more.
Is there a specific inspiration for The Rental?
The idea was inspired by my own paranoia about the concept of home sharing. The country is as divided as itâs ever been, and no one trusts each other, yet we trust staying in the home of a stranger simply because of a few five-star reviews online. And in reality, while we were shooting the film, there were new articles coming out every week about homeowners with hidden cameras in their place. And I still use all of the home-sharing apps. In fact, I stayed in an Airbnb while shooting the film. I was trying to explore this disconnect where, even though weâre all aware of the risks of staying in a strangerâs home, we still do it. Why do we subject ourselves to that knowing weâre potentially putting ourselves in danger?
How did you end up working with Joe Swanberg on the film?
I wanted to write the film with Joe because his main strengths lie in characters and relationships. Our goal from the beginning was to create a tense relationship drama where the interpersonal issues between the characters were just as thrilling as the fact that thereâs a psycho killer lurking in the shadows. At its core, the film really is about these characters and their relationships, and then we sprinkled a horror element on top to help accentuate the problems that theyâre going through. But when there are issues in your own romantic relationships, that can be as scary as anything else, even physical danger from a psycho killer.
What directors stand out who may have helped you the most in terms of taking the leap from actor to feature film director?
Iâve been lucky enough to work with a handful of really, really great directorsâpeople like Barry Jenkins, Noah Baumbach, Seth Rogen, my brother, Phil Lord and Chris Millerâand the biggest thing I took from that whole group of them is, in general, they all create very safe, comfortable environments on set where they really encourage everyone to voice their opinions if they think that it will help the film in any way. And so, essentially, there are no egos on set and the main rule is the best idea wins, no matter who itâs coming from. I definitely tried to adopt that mindset for my film as well.
You immediately establish tension between the two brothers with an allusion to a possible infidelity, and this tension methodically builds to a breaking point. I know youâre a fan of clever genre films, so Iâm curious whether there are any ones in particular that inspired you to capture that tension on screen.
Ari Aster, Jordan Peele, Sean Durkin, Amy Seimetz, David Robert Mitchell, and Jeremy Saulnier are all making projects that are so nuanced and atmospheric. Their films take their time to creep up on you, as opposed to a lot of horror films that rely too heavily on cheap jump scares and, ultimately, feel disposable. I was lucky enough to convince Sean Durkin to produce my film, and he ended up being somewhat of a mentor to me, giving me the confidence to make a horror film that didnât have many jump scares. He would remind me that we had a compelling story and there was enough inherent tension between these characters that we didn’t need to push the horror, that it was all simmering under the surface and that we could just let it build and naturally come out over the course of the film.
Your wife, Alison Brie, appeared in Scream 4, so it was great to see her working again in a similar genre because, though itâs a slow burner, The Rental is a slasher film. Iâm curious about your process when it came to curating this particular cast of actors.
Alison has a blast jumping back into it and letting go. Iâve obviously always known that sheâs an incredible actress, but when I was in a position where I was watching her intently for five straight weeks, I realized that sheâs one of the best. Sheâs so unique in her ability to balance heavy drama with moments of levity, sometimes within a single scene. And, so, it was a pleasure for me just to see her in that light and just kind of spend time with her in that way. It just continued to develop an even greater appreciation for each other.
Regarding Dan Stevens, Iâve always loved him as a performer, especially when heâs working in the genre arena, as in Adam Wingardâs The Guest and FXâs Legion. But in those projects, heâs playing characters who are slightly heightened, so I was excited to see him in a role that felt a little more grounded and human. And one of his best skills is that heâs really incredible at playing slightly villainous characters, where there are certain actors who play villains and audiences immediately turn on them when they start to make unethical choices. But Dan has so much fun with these types of rolesâhe really relishes in themâand as an audience, you canât help but root for him, even when heâs making horrible decisions.
Sheilaâs mainly known for her work in Ana Lily Amirpourâs A Girl Walks Home Alone at Night, where she plays a vampire. And sheâs incredible in that film, but sheâs not able to emote very much because that’s not what vampires do. I then saw her in Jeremiah Zagarâs film We the Animals. Sheâs only in a supporting role in that film, but sheâs able to bring so much soul and compassion to her character in a finite amount of screen time. And after seeing that, I knew that she was perfect for Mina. She has this inherent strength to her, but she can also show such a vulnerability when the scene calls for it, and that was the perfect duality for Mina, whoâs very strong-willed but who can crumble at any moment.
And then, finally, Jeremy Allen White is mainly known for his work on Shameless, and Iâve admired him from afar for a long time. He has this raw energy that feels unpredictable yet extremely down to earth. And the character of Josh is difficult to pull off because he has this rage inside of him, but at the same time heâs very delicate and in touch with his emotional side, and I think Jeremy is one of a handful of actors who could pull that off.
The film was timely when you wrote it, but even more so now with the pandemic, civil unrest, and unprecedented political corruption. It may resonate even more with audiences now. Who couldâve anticipated that?
Exactly. Sometimes a filmâs success really revolves around the timing of when it comes out.
Are you already thinking about your next feature?
Yeah. I have a pretty strong idea for a sequel to this film, if I am lucky enough to have the opportunity to carry on with the story. And in addition to that, my wife and I have written a romantic comedy during the quarantine that I would direct and she would act in. Itâs a slightly elevated version of the genre, and itâs inspired by such classics as Rob Reinerâs When Harry Met Sally and Nora Ephronâs Sleepless in Seattle.
Interview: Bill and Turner Ross on the Constructions of Bloody Nose, Empty Pockets
The Rosses discuss how performance, accessibility, empathy, and nostalgia figure into their work.
The work of filmmaker brothers Bill Ross IV and Turner Ross has always lived on the more experimental margins of the documentary form, and their latest effort radically pushes definitional notions of nonfiction to a near-breaking point. Bloody Nose, Empty Pockets raised eyebrows when Sundance programmers slotted it into the festivalâs Documentary Competition section, given that the film, about a Las Vegas dive barâs last night of operation, was actually shot using a cast of hired actors-cum-barflys in New Orleans. What the filmmakers capture over the course of a whirlwind 18 hoursâa day after Donald Trump won the presidencyâmight lack actuality, but they compensate with unvarnished authenticity.
The Ross brothers, who are based in New Orleans, have long been experts at capturing how people perform their identity within a given space and what that reflects about their humanity. Sometimes the performance is literal, as in their âdance filmâ Contemporary Color, a celebration of color guard staged by David Byrne at an event at Brooklynâs Barclays Center. But more often, their canvas is bigger, such as New Orleansâs French Quarter in Tchoupitoulas, their Sidney, Ohio hometown in 45365, or the Texas-Mexico border in Western; these documentaries are also populated with people going about their lives in less staged circumstances. With Bloody Nose, Empty Pockets, the filmmakers narrow their focus to an admittedly synthetic setting to achieve an identical effect. Once the cameras start rolling and the booze starts flowing, the emotional honesty of the moments they capture outmuscles any concerns over genre labels or definitions.
On a Zoom call prior to the filmâs Virtual Cinema release this Friday, I spoke with the Ross brothers about the intellectual and emotional journey leading up to ideating and executing an unconventional project like Bloody Nose, Empty Pockets. The conversation also covered how the brothers think about performance, choreography, accessibility, empathy, and nostalgia when making their films.
Your body of work is largely about what we can learn about people from the spaces they occupy and explore. Did your ability to explore these thematics get easier or harder with such a confined location in Bloody Nose, Empty Pockets?
Turner Ross: Weâre interested in people in the space they inhabit, people in the spaces they create, how the spaces that they occupy both relate to them and are manifested by them. So, I think every film has a bit to do with that. With this one, I wouldnât say [it was] easier or harder. I would say we always set up a challenge for ourselves. And this was as challenging a dynamic as we could conceive given the films that have preceded it. You know, weâre always trying to learn from what comes before. And the last film that we did was a âfour wallsâ movie, but it was the Barclays Center in New York, tens of thousands of people, several hundred participants and a crew of dozens. We wanted to take that idea of constraints and a limited palette and say, âCan we reduce that down to actually four walls, just the two of us, to a group of people assembled? Can we give a sense of being there to a place that weâve manifested? Can we elicit an authentic experience from an intention to a scenario?â But those are imposed limitations and obstacles, and thatâs what makes it interesting for us.
Bill Ross IV: In some ways, it was nicer to be confined to that space because that limitation was what it was. In other ways, it was incredibly difficult.
You mentioned Contemporary Color as another âfour wallsâ movie. Did that experience of learning how to capture motion within a confined space help in making this one?
TR: Very much so. Contemporary Color is actually a dance film, so it involves choreography. Humans and their choreography through space is always interesting, and so we tried to create a space in which all of the corners of the room had potential. We filled it with people who would have an interesting dance with each other. The difference was we didnât know the choreography ahead of time. We just kind of had to create the scenario, create opportunities and then follow where they led. And so that made it much more of an interesting dance partner than just observing the thing itself.
You started conceptualizing this film with your Vegas visits in 2009 but didnât shoot the film until 2016. How did your understanding of the people, the bars, the city, the country change over time? How would the film be different if youâd shot it right away?
BR: I mean, each film is an extension of where we are as humans when we shoot it, so it would certainly have been more immature.
TR: Itâs an extension of us as people, as individuals, as humans in the world. Itâs an extension of ourselves as artists, the times that weâre in, what weâre thinking about, what weâre responding to. So, certainly, 10 years ago, the world we were responding to is very different than the one that we find ourselves in now. In that sense, the world being available to us as the resource that we mine, certainly that would have been different. But, at the same time, what we were looking for at that time was much more of a gritty, veritĂ©, follow-where-it-goes street film in which we were just really wanting to see what was happening in that world. Not so much as a paradigm in which the movie takes place, a metaphor for experience, a framing deviceâwhich is what it ends up being in this filmâbut the actuality of what it was in 2009 during the Great Recession when people were living on the outskirts of Vegas, not seeking pleasure but a place to get by in the world. That spoke to us really as an image, as an experience and as a rich resource for painting a portrait of the contemporary American experience, which, again, extrapolated into these times would be very different. And, for us, it became the backdrop for this film so that we could create a microcosmic story that hopefully spoke to something bigger in that context.
TR: Iâd love to see that film!
BR: Oh, that movie would be sweet. But weâll get to that one. It just wasnât the right time then. Itâs good that we got to think about it for this long. A lot of things were reported in that bucket over the last decade, or I guess it would have been seven years.
Youâve described bars as almost liminal spaces where people go to be someone other than themselves. Is that realization part of what led you to view the people in this film as actors performing characters?
TR: Weâre always performing as people, and that comes into the genre-framing conversation. Our awareness of a camera has become a real factor in the world, but thatâs not what weâre after. What we were curious about is what are these spaces that we choose to inhabit, that we seek in which to commiserate, that we seek in which to make stories, to tell stories, to put on airs, to be ourselves, to let go of things. Through all of time, people have found these types of spaces. And at the time that we made the film, we felt it was the most conducive space in which to observe and be curious about the conversations people are having with each other when they arenât talking about something in particular. And, so, if we can all share a drink and have a conversation, what does it sound like? Thatâs in parallel to our interest in these spaces in general, and as a visual and cultural space, but also as a useful space. Who are we? Why donât we talk to each other like this? What stories do we tell what stories we tell ourselves? And what are we saying to each other in this moment in time?
Do you see your other films as having performances in their own way?
BR: Always, yeah. In a lot of ways, I donât see this film being much different than the others. Theyâre all constructions. Thereâs a camera in the room and weâre all performing. Weâre all presenting what we wish to be seen as. I think thatâs been cranked up here, but by how much I donât really know.
TR: Our films are an amalgam of an experience. How can we distill it down to its essence, to make it sensical when itâs shared? I think thatâs part of being a person in the world, what are you going to share with others in order to give them an idea of who you wish them to see? And thatâs performance. So, in that sense, our films are also performative. In this sense, weâre just more acutely looking at that.
How were you all navigating the need to be specific to get the precise sense of place but also generalizable enough that anyone could see their own truth or experience reflected in the film?
BR: A lot of it is casting. Weâre casting a wide variety of folks for a lot of different reasons, but one of them being that folks will see themselves in someone there. Or pieces of themselves throughout. And that seems to have been the case so far, which has been great. But the beginning of the question was Vegas…
TR: We wanted to tell a specific story that was also universal. Thatâs what Bill was talking about with casting. We wanted to make sure that there was representation in there so that there were different voices heard, which were authentic [and] would not [convey] an inauthentic experience, some sort of staged experiment, but something that spoke to an authenticity that we had perceived and experienced on our own. So, yes, we did a lot when it come to the framing of that world. We spent a lot of time in Vegas, certainly scouting and considering that and wanting to be authentic to that locale. But we also wanted to create a boundary in between so that when people watch the film, it isnât so acute that they feel removed. We want people to have this experiential opportunity. We spoke today with a woman in Moscow, different people all over the world, different age groups, different backgrounds, and [even though it] may not be [their] space, they know something like it. Those may not be your people, but you might know folks like âem. And we wanted that to be the overriding idea, and not so much that this is a singular, specific story. We hoped that we would get to something that was more universal, even though it is a singular milieu.
We sometimes see the camera in the bar mirrors. Was it just too logistically complex trying to hide its presence? Did you just embrace your visibility?
BR: This is our fifth feature, and at this point, I think Iâm just done trying to cut around us. We are there. If we werenât there, there wouldnât be a film. More and more, we have embraced the fact that weâre just in the room. Itâs very intentional, but weâre not focusing on ourselves. Because itâs a mirrored room, we are popping up. We are leaving ourselves in there to say that this was a collective experience. This is all something that we experienced together. And weâre shooting not at these folks, but with [them]. We are together.
A moment that really struck me in the film is the really heartfelt conversation at the end of the bar between Bruce and Pam, both older and of different racial backgrounds. We see them at first in close-up, then you zoom out to see from other peopleâs vantage point from the other end of the bar in long shot. Throughout much of the film, weâre in a moment so thoroughly, and then it evaporates. Why linger here a bit and change perspectives?
BR: Thereâs two parts to that. One is, editorially, we needed to condense the scene timewise. But, also, because of that perspective, the scene becomes richer because the folks that you bounce around to are having trivial conversations when they are having a big life moment down here. And thatâs the way a bar works. Now, youâre totally oblivious that somebody is having a life-changing, cathartic moment down here, and you and your buddies are talking about Olive Garden three seats down. I thought it was very telling what those spaces can be.
TR: And we wanted that inclusivity of the myriad experience and how the same situation, even within a small tight-knit framework, is experienced differently. And, as a viewer, that was Bill speaking to the cinematic intention. We realized that it was much more accessible as a film if we used the language of cinema to move around the space and to allow the viewers to say, âI have my own stream of consciousness in this space and can move around to the different conversations at will. Iâm privy to all of the things in a way that even the people within the bar [arenât].â The omniscience is in favor of the viewer.
BR: There was one cut of this where we would just stick with Pam and Bruce for, like, eight minutes uninterrupted and not bounce around the room. We love that cut, but nobody else did! So we had austere intentions, and then realized we need to revert to the language of the movies.
Beyond just the difficulties of getting someone to watch or program something thatâs four-and-a-half-hours long, which is the length of your original favored cut, why whittle the film down to an hour-and-a-half? Whatâs lost and whatâs gained?
BR: An audience is gained! [laughs]
TR: We always say that we make movies for ourselves first. We make movies for each other, and we try to solve that thing. Well, that four-and-a-half-hour movie was the movie that we made for ourselves and for each other. It turns out that what we loved about it was not translated to people outside of our own peculiar bubble. What we needed to do was distill that down to something that allowed people in and wasnât so cold and obstructive as to pull people out. Itâs not about observation, itâs about inclusion for the people within it and the viewers, and we had to eventually really lean towards the viewer. Because if weâre not successful in the end, if we canât share this, thereâs not an act of empathy. We canât create an artifact and then share it with an audience to have them have their experience. And so that is why itâs 90 minutes.
Was it an intentional decision to shoot the day after the 2016 election or just a happy accident?
BR: I donât know if it was âhappy,â but it just sort of turned out that way.
TR: Generally, weâre reflecting the state of the world at the time, what we were feeling and thinking. We were feeling sort of divided as a country and in terms of perspectives, and we were feeling pretty lost and like we should be able to do better than our vote on Election Day allowed. As artists, it was time for us to go to work. We set out to get the film in motion before we knew the results of the election. It wasnât about us making a film about our politics, but it was about the body politic. What is the state of people and what are they saying to each other? Letâs not make an election film, but letâs make a film about who we are during this time.
Trump is this kind of looming, mostly unspoken presence undergirding a lot of whatâs happening on screen, just as he has been in pretty much any bar for the last five years. How did you go about navigating the elephant in the room?
BR: It was just like a bar, with folks just getting into it, and that didnât feel quite right. So weâd move elsewhere. But that balance was struck in the edit. We didnât shy away from shooting all of it. It was present.
TR: But it also was a motivating factor in terms of why we chose to execute the film the way that we did: to create a container, a safe space to bring in a broad swath of people to choreograph the inclusion of those types. In scouting actual bars, there were some bars that, because of the way that Bill and I look, we would walk in, weâd turn the cameras on and theyâd start chanting: âTrump, Trump, Trump!â Just assuming a certain point of view, and thatâs not the film that we wanted to make.
BR: To be clear, he is not talking about the Roaring 20s! [laughs]
TR: We scouted 100 bars, and we interviewed hundreds of people to be involved in this film. And there were certain spaces that certainly did have a limited viewpoint, and people found their own corner to back into. Thatâs just not what we wanted to explore. We didnât want to have a space that spoke to a singular experience. We wanted myriad viewpoints and the opportunity to feel like you belonged in a space. Thatâs both why we chose to shoot at that time and why we created our space the way that we did.
Iâm sure youâre getting this a lot, but obviously the film has evolved to take on additional meaning when being released in a pandemic where almost no one can congregate in a bar, or at least enjoy one like the Roaring 20s patrons are. Do you think it might change the meaning or reception of the film given that the audience is likely in a state of heightened nostalgia for the environment of a bar?
BR: Thatâs funny because nobodyâs asked us that yet! I thought people would. You have to think itâs going to. I mean, itâs got to!
TR: Weâre as curious as you are. On the one hand, the themes in the film are still relevant and resonant. And, on the other hand, they change their articulation because of where weâve ended up at this moment.
BR: Not just about your feelings on bars, but so much of whatâs brought up in the film has been heightened because everything is heightened right now.
TR: And not only what theyâre talking about, what the people are actually saying to each other. The context of the film, this idea of the end of things and uncertain futures, wrestling with identity and where weâre all headed, these sort of existential themes that are intertwined in the conceit of the film and in the way that people are having discourse with each other. Iâm super curious. What a bizarre fucking time to put out a film at all! Especially this one, where weâre on edge about everything, we canât share space in this way. Who are we? I think thatâll be reflected in the kind of feedback we get.
It strikes me that you didnât make this as an explicitly ânostalgicâ film. Would you be okay if people received it that way?
BR: My biggest fear would be if they were just like, âOkay.â Any sort of reaction, if they want to argue with it, great! People are free to do what they want to do, I just hope itâs not just like, âOkay, honey. Well, we watched that.â As if itâs just one more piece of content.
TR: In the moment that we made it, our concern was not to date the film, to say, âLetâs let it be of the world that it is, but letâs also not fix it in that for all of time, hopefully.â At the same time, itâs already in the rearview, so you canât help but have some sort of nostalgia for it. Or, I donât know, maybe thereâs a hope for moving on. I think, inevitably, we make these things together to go through a catharsis together and with the people that we make them with. Then, itâs left up to the audience, and Iâm fascinated by what an audience does with it once itâs theirs. Iâll be super curious to have those conversations.
The Best Albums of 2020 (So Far)
These 20 albums reflect a reckoning with ourselves, the patriarchy, systemic racism, and our connection to the planet.
Itâs been a very long yearâand weâre only at the halfway mark. So it seemed like a good time to take stock of the human experiment circa 2020 with our first-ever mid-year albums list. Just as the COVID-19 pandemic has exposed who we are at our cores, both good and bad, the best albums of the year so farâalmost all of them created prior to the crisisâreflect the simmering tensions that have been roiling beneath the surface of American life for years, if not decades. These 20 albums reflect a reckoning with ourselves (Arcaâs kinetic Kick I), the patriarchy (Fiona Appleâs prismatic Fetch the Bolt Cutters), systemic racism (Run the Jewelsâs electrifying RTJ4), and our (dis)connection to the planet itself (Grimesâs boundless Miss Anthropocene). As we grapple with what it means to shut down and rise up, music can give us an outlet, a voice, orâin the case of Dua Lipaâs Future Nostalgia and Jessie Wareâs Whatâs Your Pleasure?âan escape. Sal Cinquemani
Fiona Apple, Fetch the Bolt Cutters
Like fellow singer-songwriter Scott Walker, Fiona Apple achieved fame at a young age by making music that was more sophisticated and adventurous than that of her peers. Now, with Fetch the Bolt Cutters, sheâs made an album not unlike Walkerâs The Driftâthat is, unmistakably in the pop idiom but aggressively unconventional. But if Walkerâs late-career music was alienating and difficult, Fetch the Bolt Cutters is compulsively listenable, full of catchy melodic hooks and turns of phrase that linger with you long after the album is over. Released in the midst of a global economic and health crisis that could have been largely prevented if not for the disastrous mismanagement of a ruling class for whom mediocrity is an unattainable level of functionality, the album is prismatic for all that it reflects. On a purely musical level, itâs a bold experiment in pop craft, a collection of songs on which Apple stretches her talents in adventurous new directions. It can be read biographically, as a self-conscious act of narrative-building that continues to define Appleâs legacy as an artist. Most importantly, Fetch the Bolt Cutters is a vituperative catalog of the failures and pointless cruelties of a society propped up by fragile, nihilistic, patriarchal ideology. Seth Wilson
Arca, Kick I
Where Arcaâs past efforts sought to express states of dissociation, rendering a consciousness flitting in and out of reality, the songs on Kick I are noticeably present and tuned-in. Arcaâs gender identity is infused in the playfulness of her lyrics and compositions. Despite the addition of actual pop hooks throughout the album, Arcaâs beats continue to emphasize destabilization and change. Her songs are all bridgeâstretches of evolution from one idea or mindset to the next. Just when youâve grown accustomed to a sound or riff, the floor drops out, shifting to another mode and vibe altogether. The production oscillates wildly between harsh and smooth, as in the way the kinetic, abrasive âRiquiquĂâ segues into the graceful ballad âCalorâ; strings and clanking percussion mix, squaring off in striking juxtaposition. By far the bounciest, most ecstatic song cycle of Arcaâs career, Kick I is a celebration of actualization, whether thatâs spurned by finding harmony internally or in communion with another. Charles Lyons-Burt
Bad Bunny, YHLQMDLG
With his inclination for pairing heartbroken lyrics with fiery dembow beats, Bad Bunny has finetuned the art of crying in the club. On his second solo album, YHLQMDLG, the Puerto Rican reggaeton star offers dance floor-ready sentimentality that feels familiar, but he breaks out of his reliable formula with the most blistering production of his career to date, courtesy of Tainy and Subelo NEO. The viral âSafaeraâ is the best example of this audacious streak: Over an episodic five minutes, the track pivots between eight exhilarating beat changes, simulating the head-spinning pyrotechnics of a DJ club mix. With collaborations from todayâs hottest Latin-trap heavyweights and legendary reggaetoneros like Daddy Yankee, the album solidifies Bad Bunnyâs rightful place in the Urbano canon. Sophia Ordaz
Phoebe Bridgers, Punisher
Throughout her sophomore effort, Punisher, Phoebe Bridgers is often transfixed by a feeling of stasis. Songs like âChinese Satelliteâ and âI See Youâ evoke the sensation of being frozen, exacerbated by the perpetual anticipation of doom. âIâve been running in circles trying to be myself,â she sings on the former. Again and again over the course of the album, the singer-songwriter laments her inability to find solid ground, her voice low but certain. These songs simmer beautifully and quietly, eventually boiling over in intermittent moments of sonic boisterousness, and the results are often stunning. Punisherâs closing track, âI Know the End,â is a travelogue at the end of the world, explicitly illustrating the cloud of uneasiness that hangs over the album. It ends with blood-curdling screams, until all the sound fades out and Bridgersâs voice is hoarse. The end of the world is a central detail on Punisher, an influence over the uncertainty that falls over these dark but gorgeous songs. Jordan Walsh
Doglegâs Melee is a bristling, relentlessly cathartic collection of pop-punk. From the moment that the opening track, âKawasaki Backflip,â bursts into its full-band glory, the album never slows down or backs off from the Detroit groupâs loud, crunchy, anthemic style. Lead singer Alex Stoitsiadis shouts every word with dire conviction, his voice shredding and straining to deliver some of the best shout-along hooks of the year so far. âAny moment now, I will disintegrate,â he frantically yells at the explosive climax of âFox.â Melee is the sound of a band pushing off self-destruction through sheer force of will. This isnât to say that these songs arenât complex, or that their loudness is a cover for a lack of imagination. The guitars on âCannonballâ splash loudly, creating violent ripples over the rest of the track, while âEnderâ closes the album in a six-minute punk odyssey wherein Dogleg ups the stakes at every turn. Melee is exhausting in the best possible way, a cleansing release of tension in a howling, desperate rage. Walsh
Bob Dylan, Rough and Rowdy Ways
Sharp and precise in its references, descriptions, and personal confessions, Bob Dylanâs Rough and Rowdy Ways is thematically universal and powerfully prescient, in many ways acting as the culminating expression of the apocalyptic spirituality thatâs preoccupied Dylan since his earliest recordings. Itâs also a masterpiece of mood as much as lyrical poetry, and as stunningly and surprisingly atmospheric as many of the major musical achievements in a career more associated with monumental songwriting than sonic mastery. This is an album that showcases a similar comprehensive spectrum of ideas, attitudes, citations, perspectives, stories, and jokes as Dylanâs greatest recordings. True, many of these are grave, but the few hopeful spotsâlike âIâve Made Up My Mind to Give Myself to Youâ and âKey West (Pirate Philosopher)ââare well-earned and, quite simply, beautiful. Latter-day Dylan is the man behind âTo Make You Feel My Loveâ as well as âNot Dark Yet,â and along with dispensing fire and brimstone, Rough and Rowdy Ways keeps romantic and spiritual faith alive, through both the fervor of unshaken convictions concerning the high stakes of the soul as well a basic yearning for love, companionship, and peace. As with his best work, the album encompasses the infinite potential for grace and disaster that can be clearly discerned but rarely summarized in the most turbulent of ages. Michael Joshua Rowin
Grimes, Miss Anthropocene
Claire Boucher has said that the process of writing Miss Anthropocene was an isolating experience, and that much of the material came from a dark, personal place. Even the albumâs most apparently apocalyptic lyrics, like the reverb-drenched âThis is the sound of the end of the worldâ on âBefore the Fever,â seem to do more to elucidate the kind of headspace Boucher was in at the time of writing than any grand message about the worldâs climate woes. But while this overarching concept might seem flimsy, Boucherâs broad-strokes approach to lyricism and confident, cinematic production allows her to explore concerns that feel at once both deeply personal and fundamentally communal. The latter in particular is bolstered by the way she dissolves the limits of genre, splicing together ethereal electronics with nĂŒ-metal guitars on âSo Heavy I Fell Through the Earth.â On âDarkseid,â deep bass and doom-laden beats grind beneath a brittle performance by Taiwanese rapper æœPAN, and a Bollywood sample butts up against drum nâ bass on â4ĂM.â On an album as sonically diverse as Miss Anthropocene, the most significant thread that holds it all together is Boucherâs wild imagination and commitment to experimenting with her sound. And the result is a challenging exploration of the conflicting boundaries and boundlessness of personhood, technology, and society. Anna Richmond
HAIM, Women in Music Pt. III
While thereâs plenty of genre-hopping on Women in Music Pt. IIIâhip-hop, reggae, folk, heartland rock, and danceâHAIM has created an album thatâs defined not just by exploration, but by their strong sense of individuality. Unlike the sparkling, thoroughly modern production of 2017âs Something to Tell You, this albumâs scratchy drums, murky vocals, and subtle blending of acoustic and electronic elements sound ripped straight from an old vinyl. Itâs darker, heavier fare for HAIM, for sureâa summer party record for a troubled summer. HAIMâs instincts to veer a little more left of the dial result in an album that strikes a deft balance between the experimental and the commercial, the moody and the uplifting. Youâre unlikely to hear these songs on Krogerâs in-store playlistâon which 2017âs âLittle of Your Loveâ seems to have become a permanent staple alongside the likes of âEye of the Tigerâ and âI Wanna Dance with Somebody (Who Loves Me)ââbut these songs are riskier, and ultimately that much more rewarding. Jeremy Winograd
Lilly Hiatt, Walking Proof
Lilly Hiattâs songs are disarmingly personal and immensely endearing, even when sheâs singing about fucking upâwhich is pretty often. Thereâs an almost parasocial element to Hiattâs songwriting: Her voice is like that of an old friend whoâs perpetually in various stages of getting her shit together. Hiattâs fourth album, Walking Proof, forms something of a thematic trilogy with her last two albums: 2015âs Royal Blue, a portrait of a relationship in its death throes, and 2017âs harder, darker Trinity Lane, which depicted its immediate aftermath. Hiatt spent both albums seeking solace and guidance for her troubles everywhere she could, from family to her favorite records. On Walking Proof, sheâs emerged wiser and more confident, ready even to dispense advice of her own. She also finds herself in full command of her broad stylistic palette, melding influences as disparate as backwoods country and garage punk into a cohesive signature sound. There are a couple of lingering references to Hiattâs past relationship problems. But when, in the hauntingly stark closer âScream,â she claims, âI swear to God Iâm done with him,â itâs convincing this time. Winograd
Carly Rae Jepsen, Dedicated Side B
A defining feature of last yearâs Dedicated was Carly Rae Jepsenâs embrace of her sexualityâa topic the singer had, for the most part, previously sidestepped in favor of more chaste subject matter. The dozen songs that comprise Dedicated Side B, all leftovers from the original recording sessions, double down on pillow talk, lending the album a uniformity that its predecessor lacked. That songs as strong as the sublime âHeartbeatâ and the anthemic âSoloâ were left off Dedicated speaks to not just the wealth of treasures she had to choose from, but her ability to craft a cohesive narrative. âIâm at a war with myself/We go back to my place/Take my makeup off/Show you my best disguise,â Jepsen offers wistfully on the meditative âComeback,â demonstrating the tangled multi-dimensionality of both her own psyche and the act of sex itself. Alexa Camp
The Best Games of 2020 (So Far)
Making the old new again could be the mantra of this yearâs gaming.
There are various reasons why the games on this list are our favorites of the year so far, but the key one is how many of them are so strikingly illustrative of how the old ways of gaming are increasingly evolving into something resolutely new. Doom Eternal and Streets of Rage 4 showed that small tweaks to well-established gameplay modes could breathe new life into beloved franchises. Countless technological advancements made in the 13 years since the release of Half Life 2: Episode 2 have allowed for the world of this iconic series to be realized anew, and in virtual reality, with Half-Life: Alyx.
Elsewhere, Final Fantasy VII Remake not only shows how far games have come graphically in 23 years, but also how storytelling sensibilities have shifted. Yes, the gameâs battles are more active and strategic than ever, its characters more well-rounded, its environments more breathtakingly expansive, but itâs most impressive for the way its narrative engages with our memories and interrogates our expectations of what a remake should be.
Indeed, making the old new again could be the mantra of this yearâs gaming. But sometimes whatâs new today is simply what was unseen, or unheard, yesterday. An eraser is the dominant mechanic of If FoundâŠ, and how a trans woman from the west coast of Ireland is pushed toward erasure is its dominant theme. And The Last of Us Part II not only centers the experience of the queer surrogate daughter of the first gameâs prototypical white male protagonist, it evinces a hyperawareness about the nature of violence in games and the world at large.
For those of us whoâve been playing video games since a young age, thereâs something comforting about sitting with a great game and realizing that the medium has grown with us. Like a best friend, such a game sometimes even gives you a gentle ribbing, as in the way Lair of the Clockwork God addresses our evolving tastes and the mediumâs growth head-on, constantly breaking the fourth wall to point out how itâs updating platformer and adventure conventions. And in 2020, when the world is continuing to predictably and catastrophically disappoint us, that this industry is still surprising and delighting us feels like a salve. Aaron Riccio
Alderâs Blood (Shockwork Games)
Alderâs Bloodâs intimidating and intense sense of atmosphere, the need for precise decision-making, and even the term âHunterâ register as a strong nod to Bloodborne. But whereas Bloodborne was just another incarnation of the hack-and-slash, lock-on-and-dodge formula that was popularized by Dark Souls, this game shakes up the foundation of a long-standing genre, stretching the familiar into a realm of nightmarish wonder. Not even leveling up from consecutive victories dampens the bleakness of Alderâs Blood. Each Hunter creeps toward insanity, which forces the player to commit bloody human sacrifices in order to transfer experience points to new heroes. Here, success is more ephemeral than it ever has been in a turn-based tactics game, implying that a godless world should not be coveted. Jed Pressgrove
Desperados III (Mimimi Games)
This first installment in the Desperados series since the 2007 spinoff Helldorado is a prequel, and it opens with a flashback to protagonist John Cooperâs last adventure with his bounty hunter father, during which he learns to âthink slow, act fast.â Thatâs basically the modus operandi of German-based Mimimi Gamesâs latest, because deliberate, stealthy gameplay is the playerâs key to victory. For one, itâs more than satisfying to watch your minutes-long action planning, of furtive repositioning and queuing of unique skills, result in the swift and simultaneous sacking of guards at the hands of your five colorful posse members. While the plot and characters in Desperados III may be familiar, and the gameplay recalls that of other modern real-time tactics titles like Mimimi Gamesâs previous Shadow Tactics: Blade of the Shogun, each scenario feels distinct. Youâll need different skills to burn down a riverboat than you do to blow up a bridge or defend a ranch. Even slight shifts in terrain and available party members (or their inventories) serve to shake up your tactics. Riccio
Doom Eternal (id Software)
Doom Eternal is another frantic dance through meaty pink grottos and wide-open metallic arenas littered with colorful pickups, environmental hazards, and enemies. Where so many shooters opt for verisimilitude, thereâs something primal and thrilling to id Softwareâs further embrace of video-gamey conventions, complementing the floating power-ups with extra lives and optional challenges. This is a game blissfully liberated from the shackles of plausibility and realism, demanding constant motion and engagement to manage health, ammo, and armor that you pull from demon carcasses via fist, fire, and chainsaw. Throughout, the variables crash together in endless, enthralling permutations as the weapons, their modifications, and the upgrades to those modifications create combos against the encroaching hordes. Everything has its response, its counter, and its priority, each of them shifting constantly as new demons appear and your ammunition dwindles. Steven Scaife
Final Fantasy VII Remake (Square Enix)
Final Fantasy VII Remake is directly in dialogue with the player about what a remake can and probably should be, about how much of a waste it might be to proceed past the endpoint of this particular storyâessentially the moment in the original where youâre allowed to freely explore the world outside Midgarâand realize that the journey and the outcome has remained the same. Youâre given the chance to choose a different path, to face a literal hideous embodiment of the hands of fate in the gameâs climax. Itâs a forceful, kinetic statementâthat this remake should not be bound by what we already know. And as monstrous as it can be, the symbolism of that gesture is incredibly daring. The game flips the script on the very idea of nostalgia being the only guiding creative force behind a remake, making it another enemy to be slain. The final hours of this game constitute an extraordinary act of subversion, actively challenging us through gameplay to expect more. Justin Clark
Half-Life: Alyx (Valve Corporation)
Creating a sequel-slash-prequel to an iconic video-game series 13 years in cryosleep is just as an unenviable a task as launching a big-budget title using new technology that might evolve the entire medium, yet Valve delivers with Half-Life: Alyx. Returning fans to the sci-fi nightmare of City 17, a young Alyx Vance fights the omnipresent alien invasion alongside other members of Earthâs resistance, pulled into a plot to rescue a mysterious individual who disappeared some 20 years earlier. While Half-Life: Alyxâs core gameplay doesnât deviate too far from that of other VR titles, Valve has refined the exploration, shooting, and physics puzzles that this series is known for into something that isn’t played as much as it is experienced. In Half-Life: Alyx, fighting the Combine is just as compelling as exploring the derelict buildings of City 17, and being able to lift and inspect and throw any object contributes greatly to the gameâs feeling of immersion. Guns are reloaded by physically putting a new mag in and pulling the slide, marker pens draw on whiteboards, and liquid even sloshes around inside bottles. Boasting visuals that border on the photorealistic and intuitive 1:1 controls that feel entirely natural, Half-Life: Alyx pushes virtual-reality gaming to new heights. Ryan Aston
If Found… (DREAMFEEL)
DREAMFEELâs interactive novel If FoundâŠ is mostly told through the early-1990s diary entries of a young Irish trans woman, Kasio, who returns home to Achill Island in Irelandâs west coast from college in Dublin. Scrawled with her memories and feelings, the diaryâs pages tend to be unassuming and use color sparingly, with just a few shades dominating the sketches of people and environments. At times those images will be scribbled out or written over, which is when the player breaks out the eraser. The framing device for purging Kasioâs diary isnât totally clear until the very end of the game, leaving you to ruminate on the action itself rather than the context. If FoundâŠ never relies on a last-act twist, instead finding its power through the empathy and truth with which it traces the divergent trajectories of so many relationships. And if the sci-fi elements donât totally land, the strength of its characters and the specificity of its Irish setting most certainly do. Scaife
Kentucky Route Zero: TV Edition (Cardboard Computer)
Kentucky Route Zero is a game often content to remain as mysterious as its namesake, an underground highway seemingly unbound by physical laws. Any fights, between unions and predatory companies, have already happened or doubtless will happen again. Instead, it explores the aftermath of cultural devastation, of how people survive in the ruins of the American experiment and how they build atop (or beneath) that wreckage, with the strange reality meant to represent what capitalism has done to the world. The magic is there, only contained and warped by the society that has grown around it. The charactersâ paths narrow as the game continues, as the fist of an unfeeling system closes and people are overwhelmed by weaknesses; you drift from the role of driver to the person being driven to a simple observer of whatâs to come. The people you encounter are refugees of greed and exploitation and obsolescence, and thereâs a sliver of hope as they defiantly continue, finding pleasure in creation and companionship. They write, they compose, they perform, and they record, inspired by past struggles and a world content to forget its own history beyond facile preservation attempts in arbitrary little museums. After seven years, this visionary masterpiece concludes, an impressionist portrait of people doing what they can in a world that will never recover. Scaife
Lair of the Clockwork God (Size Five Games)
âWhy play only one genre of game when you could be playing two slightly different ones at the same time?â Thatâs a somewhat misleading tagline for Lair of the Clockwork God, as you never simultaneously control the gameâs self-aware protagonists, Dan and Ben. Rather, you swap between them, as well as control schemes. Dan is a platformer enthusiast who refuses to interact with objects, while Ben is a stubborn LucasArts point-and-click adventure junkie who doesnât care to jump. Figuring out how to use the skills we associate with their favorite genres of game to navigate through a Peruvian jungle, apocalyptic London, and an alien spaceship results in a game thatâs fresher and more innovative than yet another standalone platformer or adventure game would be. Lair of the Clockwork God is an exciting way for creators Dan Marshall and Ben Ward to not only set it apart from their prior Dan and Ben titles (Ben There, Dan That and Time Gentlemen, Please), but to successfully extend their lovingly parodic style to a much broader range of genres. Riccio
The Last of Us Part II (Naughty Dog)
The consequences of Joelâs stunning decision at the conclusion of The Last of Us come home in the gameâs sequel, which opens with a brutal execution as seen through Ellieâs eyes. Abandoning her relatively carefree life in a Jackson, Wyoming colony, Joelâs surrogate daughter and her romantic partner, Dina, travel to Seattle on a quest for revenge. A shift in perspective reveals the hollowness of Ellieâs vendetta, as sheâs barely a blip on the radar of her supposed antagonists, who are consumed in a larger conflict brewing between two sets of âadultsâ playing war at the cost of countless lives. (If any of the character choices here seem foolish, glance outside at the real world and take in how well weâre doing as humans in our present-day.) While much has been made of this gameâs grueling violence, its smaller moments of intimacy and empathy are what resonate most, with much of the lengthy campaign centered around your aiding of innocents caught in the aforementioned warâs crossfire. In the end, The Last of Us Part II is about moving on from complicated legacies, ones for whom forgiveness might never be possible. Aston
Moving Out (SMG Studio, Devm Games)
Wacky mechanics and obstacles abound throughout the gameâs 50 levels, from Dread Manorâs haunted floating chairs to the Flamethrower Factoryâs titular deathtraps. Each level adds another zany complication to your job. While at first your biggest challenge may be manipulating large or oddly shaped furniture through tortuous hallways, the increasingly outlandish assignments soon become full-on obstacle courses that not only require players to optimize their routes, but to nimbly move in unison across collapsing walkways. All of these various challenges make Moving Out overwhelming in the best possible sense. Even better, accessibility options allow players to modify things like the number of hazards in or the maximum time for each level, which is nice if you want to play with friends of differing skill levelsâand stay cordial with them after a failed level. While the game takes pains to differentiate itself from real-world moving, thereâs one area in which it remains the same, and thatâs in the way it nails that feeling of accomplishment where, at the end of a move, something that once seemed impossible has nevertheless fallen perfectly into place. Riccio
Sheffield Doc/Fest 2020: Mon Amour, Film About a Father Who, & The Kiosk
Thereâs colossal might to a cinematic image achieved through the scrappiest of means.
In the opening narration to his documentary Mon Amour, David Teboul recalls a message that his former lover, FrĂ©dĂ©ric, sent him in the middle of the night before taking his life: âItâs crazy how many things we must invent to keep us from just eating, shitting, and sleeping.â The great organizer of these âmany thingsâ we invent to convince ourselves to be something more than mere organisms is the belief in love. That, anyway, is the idea that organizes Mon Amour as Teboul travels from his native France to Siberia in order to interview locals about their experiences with love, as a way to mourn the end of his own love story.
What Teboul finds in Siberia is quite disheartening: that love, when it materializes in the figure of the lover, burns fast, and what seemed like a panacea to make our miserable world a livable place turns into the poison we call domesticity. Lovers become enemies we canât get rid of. But the little bit of love thatâs saved in the ashes of the deflated mirage that once promised to save us is once in a while rekindled through Teboulâs prodding as he interviews elderly couples who seem to articulate their feelings for the first time in ages.
The very dispositions of these individuals mimic the abyss between what was once a prospect of a pleasurable life and the crude reality of vodka and violence that replaced it. In the rare moments when someone sings the praises of togetherness, they do so by looking down or away, as if addressing their own partners when speaking about love would mean losing the little bit of honor they have left after putting up with so much betrayal.
Although Teboul interviews young people, too, the strongest portraits are those of the elderly, who, on some level, take advantage of their cinematic moment to air their grievances and, once in a while, admit gratitude. A very old-looking woman in her mid-60s who lost her sight from reading too much Pushkin late at night tells us that any other man would surely have left her long ago, but not her husband, who senses when sheâs awake in the middle of the night, makes her tea, and tells her that if she dies he will follow her to the grave. Teboulâs questions can be refreshingly unexpected. As when he asks the woman what her husbandâs favorite body part is. When she whispers the answer into his cute little mushroom ears, you sense that itâs the closest thing to an âI love youâ that he will ever hear. We donât know if his eyes water as she praises his ears, for he looks down and away, before then heart-breakingly saying, âThe main thing is not to suffer, and not to make others suffer.â
Teboul juxtaposes these portraits with digressions about his simultaneously wonderful and dismal times with FrĂ©dĂ©ric. These reflections borrow from Hiroshima Mon Amour, which Teboul watched as a child and has haunted him ever since. FrĂ©dĂ©ric, like Emmanuelle Rivaâs character in that film, was also from Nevers. In these poetic detours, we see barely lit naked bodies meant to represent Teboul and his ghostly lover, recalling the opening of Alain Resnaisâs film. It often feels like these autobiographical avowals, plagued by unnecessary classical music, belong to a different film. But theyâre symbolically important, if not indispensable, as if Teboul was offering a self-implicating gift in exchange for awakening the long dormant intimacies of strangers.
The absence of love, and our insistence on spending our entire lives looking for it anyway, is also at the core of Lynne Sachsâs Film About a Father Who. Sheffield Doc/Fest is screening several of Sachsâs documentaries on its streaming platform. For Film About a Father Who, Sachs spent over three decades amassing footage (from Super 8 to digital) of her father, an eccentric salesman from Utah who lived a Hugh Hefner kind of life, neglecting his children and hosting a different girlfriend almost every night at his official family home. Lots and lots of them got pregnant, which resulted in Sachs having what feels like hundreds of siblings, whose testimonials she collects here. Some didnât know who their father was until they were adults. Others, in order to protect themselves from so much hurt, still think of him as a kind of godfather.
The title of the film is an obvious play on Film About a Woman Who…, Yvonne Rainerâs experimental masterpiece about heteronormativity and monogamy. Rainerâs approach is acerbic, perhaps even folkloric, in the sense that her film portrays one specific woman wallowing in the sinking boat of heterosexual coupledom at the same time that it tells the archetypal tale of heterosexual domesticity writ large. Sachsâs approach feels a lot less multi-layered. Film About a Father Who is so fast-paced and Sachsâs narration so detached, or literal, that it can seem more like an underdeveloped absurdist comedy as random siblings keep turning up out of nowhere to give a brief account of their contradicting feelings toward their father. One of Sachsâs many sisters recounts how their father was arrested for possession of weed when they were kids and how she didnât know whether to weep or jump with joy at the time. But the family constellation in Sachsâs film is so vast we never spend enough time with any one single relative to see them as something other than an element.
Thereâs a sort of North American pragmatic froideur in the film, also present in self-ethnographic films like Sarah Polleyâs Stories We Tell, that Rainer queers through stylistic experimentation, and that Teboul completely avoids by surrendering to melancholia with gusto. There isnât much of a point in self-ethnographies where filmmakers protect their vulnerability through intellectualization, or prod their family wounds with a 10-foot pole. At one point in her narration, Sachs tells her audience that Film About a Father Who isnât a portrait but, rather, her attempt to understand âthe asymmetry of my conundrum.â The film is also shot in such a matter-of-fact manner that you may forget that the father is actually the filmmakerâs. It doesnât help that the father himself pleads the fifth on every question and Sachs often directs her camera elsewhere, toward her siblings, instead of letting it linger on the silent and sad remnants of an aging womanizer.
Alexandra Pianelli also captures aging bodies in The Kiosk, but in a very different fashion. Her film was entirely shot on her phone, which was mostly stuck to her head, and without her ever leaving the tiny area behind the cash register of her familyâs press kiosk in a posh area of Paris. We never see the world outside of Pianelliâs field of vision from her counter, and yet it feels like she shows us the entire mechanics of the contemporary world.
The filmâs subjects are mostly the elderly regulars who seem to show up at the kiosk everyday, for magazines and for Pianelliâs company. Pianelli crafts a tale of hopeful pessimism about humansâ relationship to otherness by explaining the ecosystem of her tradeânamely, the slow decline of the printing industry in France and how the physical circulation of ideas can be the only connection to the world for an aging population that doesnât master digital technology and for whom kiosks play the role of cafĂ©s, pubs, or even the analystâs couch.
When filmmaker Pedro Costa said, at this yearâs International Film Festival Rotterdam, that all one needs to make a great film is âthree flowers and a glass of water,â not âmoney, cars, and chicks,â this is what he means: the colossal might of the cinematic image achieved through the scrappiest of means. The Kiosk is a master class in filmmaking resourcefulness. Pianelli paints a portrait of our times through simple drawings that she makes of her clients, makeshift props and miniature sets made out of cardboard, and the anachronic gadgets around her workstation: a cassette tape player, an early-19th-century clock, coin holders that bear her great-grandparentsâ fingerprints, and the very publications that she sells. Pianelliâs no-nonsense voiceover glues these elements together with the stunning honesty of the unflappable young Parisian for whom difference is an existential aphrodisiac. Thereâs no affectedness here. Itâs as if a refined cinematic object accidently emerged on the road to her making an artisanal project for the sheer pleasure of making something out of dead time.
Pianelli humanizes the figure of the press kiosk clerk who, in turn, humanizes the strangers she comes across, from seniors who spend more time with her than with their own children to the Bangladeshi asylum seeker who goes to her for legal help. In one sequence, Pianelli witnesses a homeless man insistently offering his metro-ticket money to a bourgeois lady upset that the machine wonât take her credit card. We also learn that the demographics of the clientele per day of the week is contingent on what kinds of publications come out on which day, as well as which niche newspapers are the most anti-Semitic, anti-Arab, or pro-monarchy.
Pianelli lets the serious emerge but doesnât dwell on it. Seriousness often comes wrapped up in quirkiness and play, as when she plays a guessing game with the audience, telling us what a random customer will buy before they open their months, solely based on what they wear, and always she gets it right. Men in suits and ties go for either the newspaper Le Figaro or Les Echos, while the well-coiffed ladies who don fur coats gravitate toward Voici, unless Kate Mossâs ass is on the cover of a nearby fashion magazine.
At one point, Pianelli says that she considers herself a seller of dreams. By this she means that each magazine at the kiosk stokes a different fantasy, from a supermodel body to a nation without Arabs. But The Kiosk makes Pianelli a saleswoman of a very different sort. Instead of working as the intermediary between vulnerable denizens and the idealized images that tease and haunt them, she cobbles a much more original fantasy through the bodies they actually have. The kiosk becomes the prototype for the most utopian vision of the public library, or any old space inhabited by a curious mindâan ebullient infinity of poetry and care.
Sheffield Doc/Festâs online platform will be available to all public audiences from June 10âJuly 10.
The Best Films of 2020 (So Far)
Itâs hard to tell whether weâre in the midst of a film apocalypse, a film revolution, or both.
Itâs hard to tell whether weâre in the midst of a film apocalypse, a film revolution, orâmost likelyâboth. The long-predicted collapse of the movie theater as an institution may be underway, though drive-ins seem to be having a moment. Brett and Drew T. Pierceâs low-rent spooker The Wretched led the domestic box office for seven weeks starting in early May, Trolls World Tour became the first studio success story of the year, and Juneâs biggest release wasnât a mega-budget superhero movie, but a Spike Lee joint on Netflix.
Nobody could have seen 2020 coming, but reflecting on the best movies of the first half of the year, itâs clear that unrest was already in the air. Ken Loachâs Sorry We Missed You tracks the devastating, cascading effects of a gig economy on its workersâwhose fates became immediately uncertain when a health crisis locked down the economy. In The Cordillera of Dreams, behind the mountain range that ensconces Chile, documentarian Patricio GuzmĂĄn finds the suppressed record of popular uprisings against Augusto Pinochetâs dictatorshipâimages of militarized police forces attacking unarmed protestors that look unnervingly familiar. Dramas about womenâs experience in Trumpâs America, like Eliza Hittmanâs Never Rarely Sometimes Always and Kitty Greenâs The Assistant, may end up being cinematic landmarks of fourth-wave feminism.
Of course, given our acute sense of living in an historical moment, perhaps weâve been particularly drawn to films that reflect history and history-making, and apt to filter our interpretations through our consciousness of the tumult outside our windows. Even Andrew Pattersonâs enigmatic 1950s-set The Vast of Night, whose Twilight Zone-esque storyâwhich is advanced largely through conversations on various telecommunications networksâabout an unseen menace threatening a small town, feels tied to 2020 in ways that the filmmakers likely did not intend. In the final analysis, cinema canât help but reflect our world, becauseâeven in the absence of theatersâit remains an inextricable part of it. Pat Brown
The Assistant (Kitty Green)
With The Assistant, Kitty Green offers a top-to-bottom portrait of incremental dehumanization, and, on its terms, the film is aesthetically, tonally immaculate. The narrative is set in a film mogulâs Tribeca offices, but it could take place in a branch of any major corporation throughout the world without losing its resonance. This is a pseudo-thriller composed entirely of purposefully demoralizing minutiae, and it’s designed so that we feel as starved for rudimentary human emotion as the young woman, Jane (Julia Garner), at its center. No names are uttered throughout (the name Jane, which brings to mind the anonymity of a Jane Doe, is only stated in the credits), while the mogul is only evoked via male pronouns. Increasingly unsettling details seep into this deadening atmosphere, and after a while it becomes evident that weâre watchingâfrom the perspective of a powerless yet ultimately complicit personâa parable about rich, insulated predators like Harvey Weinstein, and Greenâs grasp of Janeâs indoctrination into this perverse world is impeccably believable. Chuck Bowen
Bacurau (Kleber MendonĂ§a Filho and Juliano Dornelles)
Kleber MendoĂ§a Filho and Juliano Donnellesâs Bacurau assembles a vibrant and eclectic collage of reference points. Itâs a wild neo-western that pulls into its orbit UFO-shaped drones, elaborate folklore, limb-flaying and head-exploding gore, and Udo Kier as a villain who shouts in a mockingly high-pitched voice, âHell no!â The Bacurau of the filmâs title is a fictional town in Brazilâs northeastern interior, depicted here at some point in the not-too-distant future. The citizens live in a relatively undisturbed harmonyâuntil Bacuaru is literally wiped off the map (GPS no longer can locate the backwater), local cell service is jammed, and the people find themselves hunted, A Dangerous Game-style, by gringo infiltrators. MendoĂ§a Filho is one of contemporary Brazilian cinemaâs most sharply political filmmakers, and Bacurau solidifies his commitment to rebuking Brazilâs current administration and its willful erasure of the countryâs culture and heritage. Sam C. Mac
Beanpole (Kantemir Balagov)
Kantemir Balagov has set Beanpole largely in tones of dark amber, bright green and red, and filthy yellow redolent of old incandescent lightingâand itâs the red of upholstery, Soviet imagery, and blood that cuts most forcefully through the brightest of those greens. Cinematographer Kseniya Seredaâs color palette recalls that of Krzysztof KieĆlowskiâs The Double Life of Veronique for the way it gives settings an artificiality that nonetheless brings Beanpoleâs grounded sociopolitical commentary into greater focus. Iya (Viktoria Miroshnichenko), a nurse working at a Leningrad hospital after the end of World War II, feels trapped in trauma, suffering from recurring fits of full-body catatonia. Her psychological state is magnified by the more visible scars of the soldiers recuperating all around her, adding to the sense that Balagovâs hermetically sealed vision of Leningrad only compounds and reflects Iyaâs PTSD back onto her. The filmmaker may depict the pain of his characters in blunt terms, but he traces the aftershocks of collapse with delicate subtlety. Jake Cole
The Cordillera of Dreams (Patricio GuzmĂĄn)
Patricio GuzmĂĄn understands the totemic power of the long strip of Andean mountains that runs between Chile and Argentina, effectively severing the former from the rest of the world. But the ruefulness in his voice also gets at something else: that this wall of rock and earth is also a mausoleum. Throughout interviews with writers and sculptors, among others, GuzmĂĄn accords to the Cordillera a level of importance thatâs nothing short of reverential. And just at the point where it feels you can take no more of his metaphorical heavy lifting, the documentary gives way to an extended survey of the ravages and legacies of Augusto Pinochetâs regime, including the doctrine of neoliberalism thatâs brought Chile to its knees in the present day. If The Cordillera of Dreams leaves us on a razorâs edge between hope and futility, thatâs by design. GuzmĂĄn knows that the day when those looking for the disappeared are themselves lost to time is an inevitability, and it will be as tragic as the day when there are no more images left to depict the story of that search. But the documentary advances the belief that, until then, we will be stronger for exhorting ourselves to reflection and atonement. Ed Gonzalez
Da 5 Bloods (Spike Lee)
Da 5 Bloods is a mix of genre film and political essay, and it exudes, especially early on, a lurid, confrontational electricity thatâs often been so exhilarating in prior Spike Lee joints. Regarding a Ho Chi Minh City that, with its active nightlife and proliferation of fast food establishments, might be mistaken for a contemporary American city, Eddie (Norm Lewis) says that âthey didnât need us, they shouldâve just sent Mickey Dâs, Pizza Hut, and the Colonel and we wouldâve defeated the VC in one week.â The sly implication is that, one way or another, America got its hands on Vietnam. Minutes later, the Rambo and Missing in Action movies are familiarly criticized for offering a white-man savior fantasy of âwinningâ the war, while Otis (Clarke Peters) reminds us of a true hero, African-American soldier Milton Olive III, who jumped on a grenade for his platoon, a picture of whom Lee briefly and movingly cuts to. These pop-cultural references make us privy to how war is committed and then sold back to us as an often-exclusionary fantasyâa double dip of atrocity. Bowen
First Cow (Kelly Reichardt)
If itâs true, as Balzac had it, that behind every great fortune lies a great crime, then perhaps behind every minor prosperity lies a misdemeanor. In Kelly Reichardtâs First Cow, that petty offense is the theft of some cowâs milk, which gentle-hearted chef Cookie Figowitz (John Magaro) and his friendly yet opportunistic companion, King Lu (Orion Lee), use to build a successful enterprise selling delicious fried honey biscuits in a small, not-quite-established town in 1820s Oregon. Like most of Reichardtâs work, the film is a deceptively diminutive affair, an intimate, almost fabulistic story told with the warmth and delicacy of a childrenâs picture book. Cinematographer Christopher Blauveltâs images honor the verdant lushness of the Pacific Northwest, making us feel as if weâre seeing its Edenic beauty through the soulful brown eyes of Eve, the titular bovine whoâs been brought to this new land by her owner (Toby Jones) as an ostentatious display of his own wealth. But the filmâs boxy 4:3 aspect ratio serves as a constant reminder that Cookie and Kingâs lives (not to mention Eveâs) are ultimately constrained by forces greater than themselves. Even here, at the far distant edges of civilization, the film pensively suggests, the machinery of industrial capitalism is tragically inescapable. Keith Watson
Fourteen (Dan Sallitt)
The dominant theme of Dan Sallittâs Fourteen is the relentless march of time and its indifference to personal hardship. Balancing a fine-grained attention to character with placid detachment, the film traces a decade in the friendship of Mara (Tallie Medel) and Jo (Norma Kuhling), former grade-school friends whoâve sustained their bond into young adulthood, where theyâve both managed tenuous livelihoods in the Big Apple. Through his unannounced and often startling leaps in chronology, Sallitt cultivates a feeling of implicit tension, a growing fissure in Mara and Joâs chemistry that bears itself out in pauses in conversation and in their interactions with a rotating gallery of supporting characters. One of the last times we see Jo, sheâs walking away from camera into a busy Brooklyn intersectionâperhaps a call back to the earlier long take of the train station, a reminder of a larger network of people whose trajectories we ultimately have no control over. In Fourteen, Mara must come to accept the limits of her ability to influence these peripheral lives, and in doing so prompts an evolution of spirit thatâs at once painful and transformative. Carson Lund
The Grand Bizarre (Jodie Mack)
A film thatâs constantly on the move, Jodie Mackâs The Grand Bizarre is a brilliant bonanza of color, texture, and globe-trotting good vibrations. With extensive use of time-lapse photography, stop-motion animation, and quick-cut montages, Mack creates a sense of boundless energy and constant movement, of people and things (but mostly things) in an endless flow around the globe. Mack takes fabricâvibrant, beautifully crafted swatches and scarves from a range of different culturesâas her central image, seeing them on trains and planes, popping out of suitcases, on the beach, in rear-view mirrors, and in dozens of other configurations that present them not as objets dâart to be admired in some folk art museum, but as products moving in the international stream of capitalism. The Grand Bizarre is a rumination on human creativity, and itâs so idiosyncratic and highly personal that it ends with the directorâs sneeze. Itâs also one of the most purely enjoyable works of avant-garde cinema made this century. Watson
Heimat Is a Space in Time (Thomas Heise)
Documentary cinemaâs most popular formal device is the so-called Ken Burns effect, that famous slow-motion slide across an archival photo until the camera settles on the main subject of the image. Heimat Is a Space in Time abundantly indulges this device but never quite in the way you might expect. Instead, filmmaker Thomas Heiseâs photographic material creeps across the screen as if it were a tectonic plate, indifferent to the camera documenting it, which often only catches human faces for a brief moment before dwelling in negative space. All this time spent contemplating blown-up grain and blur might seem counterproductive in a film that, at least on paper, is a survey of 20th-century German history through the lens of Heiseâs own genealogy. But the emphasis on the micro over the macro extends to every facet of this sprawling four-hour work, which seeks to excavate real human thought and feeling beneath the haze of larger political structures. Lund
LibertĂ© (Albert Serra)
As they move inexorably forward in time, Albert Serraâs films donât crescendo so much as peter out. In Story of My Death, the harbinger on the horizon is the return of irrational, Romantic thinking in the late 18th century, which would effectively smother the enlightened libertinism that the story otherwise wallows in. And in The Death of Louis XIV, itâs the fate promised by the title, to which the film marched with solemn certitude. Serraâs new film, the audaciously perverse and amorphous LibertĂ©, doesnât give up its game so readily. Nearly without narrative conflict, it homes in on a long night of sexual experimentation among a group of libertines hiding out from the French courts on the Prussian border in the late 17th century, and for much of LibertĂ©âs duration, the only things generating forward momentum are the subtly escalating intensity of the acts themselves and the faint expectation, however ruthlessly exploited, that the sun will eventually rise again. Lund
The 100 Best LGBTQ Movies of All Time
Cinema isnât the sole mechanism for making our presence known, but it can be among the most powerful.
Four years ago this month, in the aftermath of the attack on Orlandoâs Pulse nightclub, one call to action rose above the din: âSay their names.â New Yorkers chanted it steps from the Stonewall Inn. The mother of a child gunned down at Sandy Hook penned it in an open letter. The Orlando Sentinel printed the names. Anderson Cooper recited them. A gunman murdered 49 people and wounded 53 others in the wee hours of that awful Sunday, massacring LGBTQ people of color and their allies in the middle of Pride Month, and the commemoration of the dead demanded knowing who they were. âThese,â as MSNBCâs Lawrence OâDonnell urged his viewers, âare the names to remember.â
The titles on our list of the best LGBTQ movies of all time are a globe-spanning, multigenerational testament to our existence in a world where our erasure is no abstraction. From Carl Theodor Dreyerâs Michael to Todd Haynesâs Carol, naming and seeing emerge, intertwined, as radical actsâacts of becoming (Sally Potterâs Orlando) and acts of being (Shirley Clarkeâs Portrait of Jason), acts of speech (Marlon Riggsâs Tongues Untied) and acts of show (Jennie Livingstonâs Paris Is Burning) that together reaffirm the revolutionary potential of the seventh art. âMy name is Harvey Milk,â the San Francisco supervisor, memorialized in Rob Epsteinâs The Times of Harvey Milk, proclaimed in 1978, less than one year before his assassination. âAnd Iâm here to recruit you!â
The cinema isnât the sole mechanism for making our presence known, but it can, if the films listed below are any indication, be among the most powerful, projecting the complexities of the LGBTQ experience onto the cultureâs largest, brightest mirror. Thereâs rage here, and also love; isolation, and communal spirit; fear, and the forthright resistance to it. These films are essential because we are essential: The work of ensuring that we arenât erased or forgotten continues apace, and the struggle stretches into a horizon that no screen, no matter its size, can quite capture. But this is surely a place to start. Matt Brennan
Editor’s Note: The prior version of this list, published on June 7, 2019, can be found exclusively on our Patreon page.
Michael (Carl Theodor Dreyer, 1924)
Many critics have chosen to downplay the filmâs gay subtext, but to do so would deny the power of Carl Theodor Dreyerâs fastidious attention to the polarity of loveâs vicissitudes. If stripped of the notion that the artist Zoretâs (Benjamin Christensen) attraction toward his titular muse (Walter Slezak), whose alleged bisexuality is clearly of a solely opportunistic strain, is physical as well as social, Michael essentially becomes an embittered (and fairly rote, despite the astonishingly suffocating mise-en-scĂšne) tale of two cuckolds. Eric Henderson
MĂ€dchen in Uniform (Leontine Sagan, 1931)
An early landmark of queer cinema, Leontine Saganâs MĂ€dchen in Uniform sees youthful desire as fluid, disorienting, and rebellious. Sagan sensitively regards the female camaraderie within the confines of a strict German all-girls school, as well as the burgeoning lustfulness of the teenage Manuela (Hertha Thiele). The young girlâs affection for her sympathetic teacher, Fraulein von Bernberg (Dorothea Wieck), is expressed and reciprocated through furtive glances and brief sensual gestures that hint at an underlying and forbidden passion that can never come to fruition. Released just prior to the rise of the Third Reich, Saganâs tender portrait of unrequited love in the midst of oppression both excoriates the regressive ideals of the schoolâs, and by proxy, the nationâs, power structures and advocates instead for compassion, tolerance, and the normalization of all forms of desire. Derek Smith
The Blood of a Poet (Jean Cocteau, 1932)
Enrique Riveroâs shirtless torso remains the most enduring emblem of Jean Cocteauâs The Blood of a Poet, whether the actor is clutching his bare chest after witnessing his palm sprout a pair of lips or peering through keyholes while drifting through a gravity-free hallway. But this surrealist masterpiece isnât merely about flesh; rather, the body becomes an entry point to memory and art, where hands and mouths breed images to defy the mind. Decades of close readings, whether along psychological or self-reflexive lines, have been unable to diminish or demystify the filmâs effervescent sensuality. Clayton Dillard
Beauty and the Beast (Jean Cocteau, 1946)
Much of Beauty and the Beastâs deep magic comes from Jean Cocteauâs sense of himself as a vulnerable beast in love: In his mid-50s when he made the film, Cocteau was openly gay in an often viciously homophobic post-Vichy France, an opium addict, plagued by skin-disfiguring eczema, and yet still enamored of his much younger star, the Adonis-like Jean Marais, his sometime-lover and great friend and collaborator. In Maraisâs triple roleâas the monstrous yet tender-hearted Beast; Avenant, the hunky but caddish suitor of Josette Dayâs La Belle; and the ensorcelled Prince Ardent, whom the Beast is ultimately revealed, with some ambivalence, to beâthe actor lends virtuosic as well as symbolic appeal to Cocteauâs cinematic inquiry into the complex interplay of identification and desire. Max Cavitch
Fireworks (Kenneth Anger, 1947)
Fireworks inaugurates not merely Kenneth Angerâs own private mythology, but also the subversive expression of gay sensuality in American film, a torch carried into the early days of the New Queer Cinema. A veritable dictionary of homoerotic iconography, it is also, literally, a home movie shot while Angerâs parents were away for the weekend, and a transfixing view of the violence and seditious rapture of being âdifferentâ in the 1940s. Fernando F. Croce
Un Chant dâAmour (Jean Genet, 1950)
Jean Genetâs overpowering 1950 short, Un Chant dâAmour, is a milestone not just of gay rebellion, but also of pure sensual expression in film, a polemical vision of desire forged with the provocateurâs randy ardor and the artistâs spiritual directness. Having never made a film before or after, Genet nevertheless had an in-the-bone awareness of the medium as a procession of rapturesâvisual, cosmic, sensualâthat could match and expand the passion of words on a page. Croce
Strangers on a Train (Alfred Hitchcock, 1951)
Alfred Hitchcock knew what he was doing casting the plush-lipped Farley Granger as the straight man in his adaptation of Patricia Highsmithâs cruise-baiting thriller Strangers on a Train. Robert Walkerâs flamboyant Bruno Anthony gets all the ink, but itâs Grangerâs poker-faced, blank-slate attractiveness as Guy that captures the illicit thrill of the chase. And the consequence. Once Bruno has availed Guy of his inconvenient woman and Guy refuses to return the favor, Bruno sets out to integrate himself into Guyâs social circle and carry with him the threat of exposure and public shame. Their erotic one-upmanship reaches its breaking point in one of Hitchcockâs gaudiest set pieces, a runaway-carousel climax depicting their rough trade of blows amid contorted petrified horses whose pinions look like theyâre pornographically violating their sockets. Henderson
Rebel Without a Cause (Nicholas Ray, 1955)
The most complicated aspect of Rebel Without a Cause, and the thing that makes it seem daring even today, is its depiction of sexuality. Nicholas Ray brings Natalie Woodâs beauty into full flowering and gets a simple, touching performance from her. And with Sal Mineo, he craftily put together a portrait of a tormented gay teenager. Stewart Sternâs script tells us that Plato is searching for a father figure in Jim (and Platoâs famed locker photo of Alan Ladd shows that he wants a Shane-type father, not a lover), but the way Mineo looks at James Dean leaves no modern audience in doubt as to what his real feelings are. Dan Callahan
Victim (Basil Dearden, 1961)
Thereâs a striking sense of fatalism that infuses Basil Deardenâs masterful Victim, a scathing examination of Englandâs rampant homophobia and problematic social codes. Dick Bogarde plays Melville Farr, a closeted lawyer victimized by an elaborate blackmail scheme targeting high-profile gay men. Constructed like a detective film, Victim follows Farrâs investigation into the various catacombs of the London elite, where far-reaching compromise and repression construct a pressure cooker of emotional fear. Since homosexuality is illegal in England at the time, Farrâs stake in the vexing search for the truth is both personal and professional. Mostly, Victim is fascinating for its consistent attention to the complex emotions of its gay characters, men who often show an unwavering honesty in respect to their sexuality. âI canât help the way I am, but the law says nature played me a dirty trick,â one particularly conflicted character says, and this type of substantive dialogue reveals Dearden as a surveyor of progressive ideologies way ahead of the norm. Heath
Flaming Creatures (Jack Smith, 1963)
Flaming Creatures was Jack Smithâs first finished film. Well, in truth, itâs his only finished film, since it ricocheted out of his hands when a trend of underground film raids made his opus a trophy for either side of a decency debate. Seized at the same time as Jean Genetâs Un Chant DâAmour and Kenneth Angerâs Scorpio Rising, it made it all the way to the Supreme Court, who could detect little value in its over-exposed rumpus of genitalia, transvestitism, baroque orgies, and dance dervishry. Meanwhile, Susan Sontag and Jonas Mekas heralded the film as high art, hijacking (so Jack saw it) his vehicle to bolster their tastemaker status. Bradford Nordeen
The Servant (Joseph Losey, 1963)
If gayness remains figured as a malignant force in The Servant (a half-acknowledged deviance here mobilized in the pursuit of manipulation and personal gain), thereâs also something undeniably thrilling about watching it wind its destructive path, vivified by Joseph Loseyâs taut pacing, stylish formal play, and distressing-as-ever atmospherics. A film such as this probably couldnât be made now without cries of protest over its representational politics, which is probably a good thing. Matthew Connolly
Scorpio Rising (Kenneth Anger, 1964)
Scorpio Rising merges Kenneth Angerâs fascination with rough trade with his burgeoning interest in the Dark Arts, at least as it applies to the standard âsex, drugs, rock nâ rollâ scene. What begins with references to James Dean and the soaring beefcake photography of Bob Mizer ultimately ends in a whirl of skulls, swastikas, the spiritual sacrilege of pissing on the Catholic altar, and the societal blasphemy of rubbing mustard into the crotch of a stripped leather geek. This is the Gospel according to Anger. Henderson
My Hustler (Andy Warhol, 1965)
The commodification of desire (and the desire in commodification) have rarely been examined with the cool wit of Andy Warholâs landmark film. Whose hustler is Paul America, the blond stud whom we first see lolling about on a Fire Island beach? Men and women of various sexual orientations spend the filmâs 67-minute running time lusting after, bitching about, probing into, and yearning for this midnight cowboy. Throughout, America remains a lanky libidinal enigma, or maybe just a chiseled blank slate. He embodies a distinctly Warholian vision of queer erotics thatâs tantalizingly ambiguous, achingly aloof, and always connected to that essential bulge in your pants: your wallet. Connolly
Portrait of Jason (Shirley Clarke, 1967)
In Portrait of Jason, Jason Hollidayâs waning lucidity becomes a clever rhetorical weapon against Shirley Clarkeâs occasional attempts to turn him into an icon of the gay black experience. But she wins out overall, and quite devilishly. As Jason sinks into disorientation, the clarity of the skull perched on the bookshelf behind him increases. When he breaks down after being harangued by off-screen voices, his tears feel nearly funereal. Jason exposes his self-destructiveness to Clarke because he intuits that the resulting object will outlive himâand that it will allow him to outlive himself, and his self-destructiveness. Heâs correct. But the film is a conversation between two disadvantaged artists with indelible personalities, both of whom are unabashedly manipulating their way into at least the esoteric side of the everlasting. Clarkeâs portrait immortalizes Jason in the same sense that a death maskâone covered in its sculptorâs quick, pithy fingerprintsâmight preserve its subjectâs uncanny likeness. Lanthier
Funeral Parade of Roses (Toshio Matsumoto, 1969)
Toshio Matsumotoâs Funeral Parade of Roses takes the thematic and stylistic template of Hiroshima Mon Amourâtraumatic memory, documentary interests, elliptical editingâand further layers it with reflexive elements related to the nature of identity as it pertains to a group of queens in Tokyoâs Shinjuku district. Matsumotoâs Oedipal tale has influenced directors from Stanley Kubrick to Tsai Ming-liang, but the film remains a singular work on the ways gender performance, whether in sexual practice or art, ubiquitously informs human behavior and interaction, right down to a trick who asks Eddie (PĂźtĂą) if she likes his muscles before lifting a chair to narcissistically show them off. Dillard
The Boys in the Band (William Friedkin, 1970)
Mart Crowleyâs 1968 play The Boys in the Band, whose melodramatic act-two truth-telling owes a significant debt to the bitter gaming of Whoâs Afraid of Virginia Woolf?, isn’t a great one. Shot in the year of Stonewall, William Friedkin’s film adaptation is indeed a time capsule of its eraâs mores, but if Crowleyâs limited palette of self-loathing and camp-drenched cattiness made the play an instant âperiod pieceâ per Vito Russo, the notion that it blames these men for their fears and lies (which sat well with moralists viewing it as a cautionary tale) seems a clear misreading. The dishy wit and behavioral truths of its late-â60s demimonde of sophisticated New York homos doesnât dilute the unnerving shame and emotional warfare that explode in its scabrous second act. The partygoers are caught in the tragedy of the pre-liberation closet, a more crippling and unforgiving one than the closets that remain. Michaelâs (Kenneth Nelson) final wishââIf we could just learn not to hate ourselves quite so very muchââhas been largely fulfilled. Not quite so very much. Weber
Trash (Paul Morrissey, 1970)
With her googly eyes, a nest of burgeoning dreads atop her head, and a pronounced overbite that turns her lips into a pair of string beans, the transgender Holly Woodlawnâs untraditional sort of glamour lends a surprising poignancy to the wrenching scene when she unleashes a volcanic tantrum of violated trust, festering jealousy, and, ultimately, wounded pride at the realization that perhaps itâs her and not heroin that keeps Joe Dallesandroâs cock flaccid in bed. The frazzled, cracked-glass-Cassavetes close-ups that Paul Morrissey bequeathed to her talent caught the eye of none other than George Cukor, who started an ultimately unsuccessful petition campaign in support of an Oscar nomination. Oscars, schmoscars. To call Hollyâs performance in Trash one of the very greatest in all of cinema would be an understatement. Henderson
Death in Venice (Luchino Visconti, 1971)
An aging composer, Gustav von Aschenbach (Dirk Bogarde), takes refuge in a resort to recharge his intellectual energies, only to be completely unsettled by the beauty of a blond adolescent boy whoâs also staying at the resort. Luchino Viscontiâs masterful Death in Venice tackles complicated notions of idealization, adult-child affection, and the virtual impossibility of reciprocity with a philosophical depth that never feels immaterial. It also features a grand finale set to Gustav Mahlerâs magnificent âSymphony Number 5â where beauty, and the desire it begets, is proven to not stand a chance before manâs propensity for annihilation. Diego Semerene
Pink Narcissus (James Bidgood, 1971)
At this point in American underground cinema, gay directors were celebrating those sweet sticky things in contexts cerebral and performative (Flaming Creatures) and matter-of-factly declarative (Wakefield Pooleâs bawdy of work). Photographer James Bidgoodâs Pink Narcissus transcends any niche descriptor that appliesâqueer, camp, avant-garde, softcore, documentary expressionismâand plunges into the deep end of consciousness-annihilating erotic desire. If Cate Blanchettâs Carol marveled, to her romantic conquest, âI never looked like thisâ (a pretty hot line in its own right), Pink Narcissus flips the equation to explore the electric sexual charge of finding in others the things that are also available at oneâs own fingertips. Henderson
Sunday Bloody Sunday (John Schlesinger, 1971)
Though it depicts an eventful week in the lives of two semi-swinging LondonersâDaniel, a gay doctor (Peter Finch), and Alex, a divorced civil servantâs scion (Glenda Jackson)âwho begrudgingly share the affections of an aimless bohemian named Bob (Murray Head), Sunday Bloody Sunday is almost naĂŻvely nonpolemical. No one needs to fight for the right to screw who they want, when they want, and with whatever paucity of adjoining obligations. It simply happens, with very little effort. Even the sex act itself is continually viewed as a compromise between two passive bodies; here director John Schlesinger foregoes the carnal thrusting that forced an X rating upon his previous film, Midnight Cowboy, instead showing blemished layers of flesh curled delicately and forgivingly up to one another. This calmness is never titillating, and thus never exploitative. But we soon learn that the characters are treating themselves and each other with such quiet unfairness that to exploit them visually would be crude and redundant. Lanthier
Interview: Shannon Murphy on Charting the Wild Emotional Terrain of Babyteeth
Murphy discusses how she steered the film away from weepy clichĂ©s and toward an authentic portrayal of teenage experience.
Feature-length directorial debuts typically trade in big tonal swings, but most do so without the intentionality of Shannon Murphyâs Babyteeth. The work buzzes with the restless spirit of its protagonist, Milla (Eliza Scanlen), a precocious 15-year-old who must reckon with the sobering reality of losing her body to cancer just as she begins to gain her sense of self as a young adult. Murphyâs aesthetic choices mirror Millaâs turbulent mental state, and the film remains in a constant state of reinvention before our eyes for two hours as it unfurls âa story about how good it is not to be dead yet,â to use Murphyâs own words.
Babyteethâs generosity of spirit extends not only Milla, but to a full ensemble of characters navigating all sorts of ups and downs on the interconnected rollercoasters of illness and addiction. Millaâs volatility and vulnerability ripple outward to her psychiatrist father, Henry (Ben Mendelsohn), depressed pill-popping mother, Anna (Essie Davis), and the drug dealer turned passionate flame, Moses (Toby Wallace), who crashes into her life. Murphyâs emotionally astute direction harmonizes this quartet as they grapple openly with the joys and tragedies they endure both collectively and individuallyâoften times out of sync.
In a conversation with Murphy this month, we discussed how she imposed order and control on the wild emotional terrain of Babyteeth as well as how she steered the film away from weepy clichĂ©s and toward an authentic portrayal of teenage experience.
Youâve said that your ambition for the film was to find a language that matched the uniqueness of the script. How do you go about moving from idea to action?
Yeah, I think itâs a combination of things, but particularly picking the right heads of departments for this film. And we spent a lot of time talking about how that duality of comedy and tragedy needed to be in every frame. A good example of that is at the birthday party with Milla. Thereâs obviously so much joy and playfulness in those frames, but thereâs also really subtle decorations from the Day of the Dead everywhere. Always, even just for ourselves, knowing that we had blended those two ideas constantly into the work and making sure that we were always doing something that was juxtaposing what was going on at the time. Like making sure that, if we were going to use music, it wasnât just necessarily doing what was already in the frame and trying to pinch ourselves to constantly capture the incredible energy that these young characters had, but also itâs a very stressful time of crisis for a family. The performances, the way that we would do that was to always give ourselves a range of options of how the scene could play out and not only be wedded to one idea. That was both from me and from the actors. We would have our decisions, and we would capture those. But then, after that, we would give ourselves room to be experimental so that in the edit, I could play with when a moment might seem comedic that could become more dramatic or vice versa.
So the tone was both worked out on set and in the editing room?
I think it was definitely done beforehand, like it was on the page to begin with. And then it was something that was discussed at length in pre-production before we even arrived, so that everybody organically had it in them ready to go. But I do like having the option in the edit. I donât want to think that Iâm arrogant enough to know exactly how this should play out. I want to be able to challenge myself in the editing process.
Youâve said that you didnât consciously try to clean up the sound and leaned into some of the messiness of the production. Did you have a method for balancing the some of these more chaotic elements with the control that we end up seeing in the final edit?
These days, everybody wants to clean up sound perfectly, and I think itâs actually kind of tipped into a territory where it doesnât sound real to me. I like more of a documentary-sounding world because it makes you feel like youâre much more embedded in that story as an audience. And also with this particular story, because itâs set in Sydney in the middle of summer, we have very loud birds and cicadas, and itâs an intense, oppressive noise. I wanted to capture that precisely because it was 100% in every single guide track that we recorded, but also because I just think if youâre going to make something authentic, you do have to lean into what you captured and work with that. It was a lot of that. Also, I watched Breaking the Waves, which is a film that I love, and that sound world is so messy. But I do think a big part of that is responsible for making you feel so much, and I donât want to manipulate people too much through music or dialogue. I prefer to do it in ways that give you a more of a holistic experience. And I think sound design is a really incredible way to do that.
Not until the very end did it really sink in that this is an âillness movie.â Were you conscious of tropes around films with a sick protagonist and having to fight to make cancer something that might challenge and threaten Milla but not define her entirely?
Yeah, completely. And I think that also came from talking to professionals who work with children in those circumstances. They read the script, and they felt like it was overall really accurate. Because rather than these young people wallowing in whatâs going on, theyâre still wanting to push back and rebel and live their lives at a really intense and rapid pace in many ways. But Iâm not someone who really sort of enjoys those films that youâre talking about. I do feel theyâve got a place and an audience, and thatâs excellent. But itâs not my reality of how people behave and how the world looks. To me, I am always striving to capture something that is, of course, entertaining and, to me, often theatrical because my background is in theater, but that still feels deeply authentic and relatable. Because itâs so real and messy and honest.
And also, I made this film for teenagers. I hope that they do watch it and really feel like theyâre incredibly well represented. But I did make this with an adult audience in mind.
When youâre making a film that might have two audiences like that, do you think about talking to them on two separate tracks? Or do you think that they can watch the same thing and just get something different out of it?
I mean, I think when I was a teenager, I wasnât watching teen films. I was watching adult films because, like most of us, you donât want to be talked down to, and I think thatâs whatâs really important. And in many ways, I do think teenagers could watch this because Iâm not underestimating how much they know and how intelligent they are. Their lives are really complicated. I watched a play many years ago called Once and for All Weâre Gonna Tell You Who We Are So Shut Up and Listen by a Belgian performance company. I remember standing up into that play just like wanting to scream. I was so excited to watch something that really captured my feelings as a teenager. I did think about that quite a lot when I was directing Babyteeth. I wanted it to feel real so that people could be transported to their teenage years, or teenagers could go, âYeah, thatâs honest, that feels like me. It doesnât feel like a film thatâs made by someone whoâs a lot older and doesnât understand.â I used to teach teenagers acting for a long time, and I hope that that Iâve connected to that. It helps having two really amazing young performers, and that youâre also scrutinizing you know whether this is believable or not. And then Eliza and Toby believed in these characters.
Iâd seen Eliza in projects before, but I had never seen Toby in anything and was shocked to learn that he wasnât a first-time actor that you picked up outside of conventional casting channels because he had this raw, almost animalistic kind of magnetism. How did you go about channeling that energy? Because itâs such a vivid portrayal of the teenage infatuation that you get in that emotional rush youâve been referring to.
Tobyâs got that energy. You meet him and youâre very quickly wrapped in his auraâthat kinetic, animalistic energy youâre talking about. Heâs also a very smart, soft, and gentle man. And I knew that Moses was really complicated in this way. He was very generous, lovable, yet incredibly flawedâand, at times, extremely aggressive. With Toby, heâs actually been acting for a long time. I mean, heâd been to the Venice Film Festival before this film, and heâs done a lot of television. Heâs been acting since he was a child. Itâs so great that you felt that he was almost street-casted because I think thatâs just a testament to what an exceptional performer he is. He really gets it. Heâs very in the moment, very spontaneous. He and I share a real love of the way that we like to work. Itâs so freeing. [Heâs] constantly playing with ideas in the take, he really likes to stay fresh and in the moment. And, actually, Ben Mendelsohn is really similar. He also loves directing himself, so heâs got a real understanding of what Iâm doing when Iâm talking to him. Heâs just a really amazing, malleable performer.
In most teen-centered movies, we donât really experience adults in any capacity other than how they relate to their children, so I was surprised at how much time we get to spend with Millaâs parents here. Why was it important for you to keep their perspective so prominently in the film, and how did you go about balancing their arcs in the story?
As a teenager, youâre a product of these people whoâve really helped craft who you are in many ways. So it was very important to understand where the parents were at. Theyâre in incredible emotional turmoil. And also, how does it affect their relationship [to their children]? How do they start treating Milla differently as a result? I really wanted to explore this triangle of three people that have such an intense relationship, and to have an only child in this in this circumstance. It always really fascinating to me because it was more of an ensemble piece. With Anna and Henry, I think maybe sometimes we donât delve into that because you donât want to think too much about what happens afterwards when the parents are left alone. But for me, thatâs what the most amazing and also harrowing part of the story. You need to know those people to really understand what that means when itâs just them and what the future really does look and feel like. Will they survive it?
The 100 Best Dance Songs of All Time
Dim the lights, pump up the volume, and join us as we imagine a future where we wonât be dancing on our own.
When we published the original iteration of this list back in 2006, dance music had been pushed unceremoniously underground, relegated to discotheques and niche radio stations that were increasingly incorporating hip-hop into their playlists. Of course, hip-hop can be traced directly back to â70s funk and disco, and the origins of dance are firmly rooted in black musicâa circle thatâs impossible to dismiss. But we lamented the apparent slow death of dance musicâs popularity while holding out hope for its inevitable revival.
Be careful what you wish for. Just a few years later, EDM exploded, with artists like David Guetta dominating pop radio with garish bangers more interested in pounding you into submission than luring you to the dance floor. More than a few gems emerged from the rush, though, including a handful of instant classics: Robynâs âDancing on My Own,â Rihanna and Calvin Harrisâs âWe Found Love,â and Hercules and Love Affairâs âBlindâ among them.
Eventually, the EDM bubble burst, but dance music seems to be on the upswing yet again, with disco throwbacks like Dua Lipaâs âDonât Start Nowâ and Doja Catâs âSay Soâ bumping and grinding their way to the top of the charts. So itâs ironic that Billboard has paused publication of its club play tally for the first time in almost 50 years due to the coronavirus pandemic. Now seems like the perfect time to dust off our record players and celebrate that most enduring of genresâeven if itâs just in the privacy of our own homes.
Weâve added songs, both old and new, but weâve also shaken up the entire list to reflect our evolving taste as well as the durability of some songs over others. So, dim all the lights, pump up the volume, and join us as we imagine a future where we wonât be dancing on our own. Sal Cinquemani
Editor’s Note: The original version of this list, published on January 30, 2006, can be found exclusively on our Patreon page.
100. Yarbrough & Peoples, âDonât Stop the Musicâ (1980)
Recorded by childhood sweethearts on the cusp of taking both their careers and love lives to the next level, Calvin Yarbrough and Alisa Peoplesâs âDonât Stop the Musicâ is probably the most carnal, lusting set of marriage vows ever preserved on vinyl. Making Ashford and Simpsonâs tasteful love songs look milquetoast in comparison, itâs a synth-gritty, pumping slow jam with a walking bassline that doesnât so much strut as it does play Chutes and Ladders up and down the well-greased procession line and a steamy synthesizer wash that sounds more like a rush of blood to the tip. Because no marriage can sustain this type of sexual momentum forever, the song even comes with its own contraceptive device: those irritating chipmunk voices (be they sperm or the resultant rugrats) that interrupt every break with âYou donât really wanna stop? Nooooooo!â Eric Henderson
99. Stacey Q, âTwo of Heartsâ (1986)
Madonna copycat Stacey Qâs âTwo of Heartsâ was a fun, hi-NRG response to the Material Girlâs âBurning Up.â Madonna says, âDonât put me off/âCause Iâm on fire/And I canât quench my desire.â Stacey says, âMy bodyâs burning/So come on heed my desire.â Neither song is empowering per se, at least in the sense that Madonna and Stacey Q hadnât discovered masturbation like Cyndi Lauper had on âShe Bop,â but less is more and the love-in-my-heart Stacey Q has Madonna beat, telling us her burning snatch needs hosing down in infinitely less words. I still donât know if âWhen weâre together itâs like hot coals in a fireâ is the stupidest or greatest lyric of all time, but âTwo of Heartsâ is still the quintessential white-chick-in-heat cheese anthem. Ed Gonzalez
98. Brass Construction, âMovinââ (1975)
One of Guyanan composer-musician Randy Mullerâs string of train-centric tracks (he was also the man behind the chugging string arrangements of B.T. Express), Brass Constructionâs âMovinââ is eight solid minutes of concentrated disco-funk synergy that surges like a runaway locomotive. Muller lets his band cobble together the industrial jamâs rising action with blue-collar professionalism, keeping one ear toward whimsical production effects: clanking percussion suggesting the sound of pennies under steel wheels, otherworldly autoharp glissandos, and a trendsetting, octave-leaping string arrangement. And thereâs only about a line and a halfâs worth of lyrics holding the song together, but the way they hold back devilishly on âGonna get h-i-i-i-i-i-g-hâ before reverting into Sly and the Family Stone/Sunday school mode with the suffix â-erâ is playfully naughty. Henderson
97. Lisette Melendez, âTogether Foreverâ (1991)
What better way to convey Latin freestyleâs telenovela-esque big, broad emotions than with a big, broad stream of clichĂ©s? (âTogether forever, yours/Together forever, mine/Facing what we feel inside/Ready to stand the test of time,â goes the chorus.) Itâs delivered by East Harlem native Lisette Melendez, whose nasal voice wasnât nearly as heinous or happily off-key as many of her peers (hereâs lookinâ at you, Lilâ Suzy). âTogether Foreverâ helped indoctrinate freestyleâs new-school revision; by 1991, it was more rhythmically layered and complex than it was during its early days of tone-deaf melodies over electro beats. Producer Carlos Berrios would go on to recycle this style for the likes of Corina (in her inferior but infinitely more popular âTemptationâ) and Jammy (in âWalk Awayââif you arenât from Jersey, you canât be faulted for not knowing that one), but Melendezâs bond with this beat is eternal. Rich Juzwiak
96. Lime, âBabe, Weâre Gonna Love Tonightâ (1982)
The hi-NRG âBabe, Weâre Gonna Love Tonightâ is all tease. Its infectious intro melody suggests a na-na-na-na-na-na schoolyard taunt, and every subsequent beat ladled on top evokes a teasing tickle or poke. With her giddy, Minnie Riperton-esque vocal, Joy Dorris gets to play out a shy creature pulling away from busy hands. It sounds ridiculous, but it seems like the only reasonable response to Chris Marshâs at once earnest but disconcerting bullfrog-in-the-throat come-ons. Gonzalez
95. Sounds of Blackness, âThe Pressure Pt. 1 (Classic 12â Mix)â (1991)
R&Bâs gospel influence is so vast, it barely needs explaining. Because so much of house is derived from disco, which itself came from soul, the combination of full-on gospel elements (gigantic choirs, never-ceasing organs, Jesus praisinâ) with house seems like a no-brainer. Jimmy Jam and Terry Lewis didnât get that the first time around (they serviced âThe Pressureâ with a new jack swing production), but thatâs okayâthe late Frankie Knuckles was more than capable of doing the job. Outfitting the 40-person choirâs caterwauls with a frenetic bassline, giant four-on-the-floor beats and hip-house rattling, Knuckles could have blown the stained glass out of a church and make it seem like an act of God. Juzwiak
94. Bedrock featuring KYO, âFor What You Dream Ofâ (1993)
A grandiose, perpetually oscillating stream of synthesized sounds and thumping bass, Bedrockâs prog house anthem âFor What You Dream Ofâ is impressive not only for its many unpredictable ups and downs but also for the sheer force of its soulful vocal (by ex-Staxx of Joy singer Carol Lemming, appearing here as KYO), which posits dance as a form of spiritual healing. It sounds as if John Digweed and Nick Muir havenât left a single button on their synthesizers unpressed, but âFor What You Dream Ofâ scarcely feels synthetic. Gonzalez
93. Underworld, âBorn Slippy .NUXXâ (1995)
Whoâs that boy? Heâs dirty and numb but also capable of angelic poses. Heâs also terribly fond of lager, chemicals, and blondes. Sounds a bit like the libidinous bugger Ewan McGregor played in Danny Boyleâs Trainspotting, the film that made this dark, long, chest-puffing techno anthem ubiquitous for a hot second back in 1996. Like Bentonâs craving for smack, the beats are frantic, dizzying, ravenous, even pained, rippling outward like ginormous waves or cascading ribbons made of steel, grasping for the sort of ecstasy that seems to only come with absolute annihilation. Such is the gnarliness of Underworldâs music. Gonzalez
92. Inner City, âGood Lifeâ (1989)
Before techno was âtechnoâ (thanks to Juan Atkinsâs sci-fi theorizing and subsequent dubbing), it was known as Detroit house, and before house was house, it was disco. But if distinctions were made to be blurred, consider Kevin Saunderson a supreme smear on the dance music landscape. Inner Cityâs âGood Lifeâ clanks like techno, pumps like house, and features disco diva vocals from Paris Grey. âLet me take you to a place you know you wanna go/Itâs a good life,â she belts, creating the clearest picture of dance floor halcyon since Chic sang about 54 and its roller skates, roller skates. The good times emanating from the track landed it on Top 40 stations around the country, giving all involved a tangible taste of the real live good life. Juzwiak
91. BeyoncĂ© featuring Jay-Z, âCrazy In Loveâ (2003)
BeyoncĂ©âs simultaneously calculated and fresh âCrazy In Loveâ made producer Rich Harrison the go-to boy for urban crossover success in the mid-aughts. Harrison composed similar-sounding tracks for the likes of Jennifer Lopez and protĂ©gĂ© Amerie but failed to match the across-the-board sensation that was Beyâs breakout solo smash. A slice of retro-stylized â70s funkadelia including a show-stopping guest spot by then-DL boyfriend Jay-Z, a horn-y Chi-Lites sample, some go-go-influenced breakbeats, a proud, bottom-heavy, hip-pop posterior, and a hook so infectious that it permanently branded âdivaâ to the singerâs, uh, rĂ©sumĂ©, the song positioned the curvy bottle blonde as an MTV-generation Tina Turner. Temporary insanity never tasted so sweet. Cinquemani
90. Run-DMC vs. Jason Nevins, âItâs Like Thatâ (1997)
Donât be fooled by the slick bassline of mixmaster Jason Nevinsâs awesome 1997 remix of âItâs Like That,â which doesnât try to disguise Run-DMCâs blunt, bracingly honest polemic about black disillusionment. The original songâs sarcasm was coded in its spare design, but its effrontery was still palpable. It was an anthem blacks and the racially enlightened could all rally behind. (One wonders where modern rap and hip-hop would be had the song never been released.) Nevins updates the sound but doesnât allow us to lose sight of Run-DMCâs embittered lyrics. The new sound gives the brutal discontent of 1983 a changing-times context, making the originalâs disdain accessible to a new generationâif mostly to hipsters and ravers. Itâs more danceable but still every bit as confrontational. Gonzalez
89. Cathy Dennis, âTouch Me (All Night Long)â (1991)
Itâs ironic that a singer who carved out a second act for herself by writing iconic hits for other artists, including Britney Spearsâs âToxicâ and Kylie Minogueâs âCanât Get You Out of My Head,â initially made a name for herself with someone elseâs song. But Cathy Dennis made Fonda Raeâs disco trifle âTouch Me (All Night Long)â her own by completely rewriting the songâs throwaway verses, imbuing a fleeting physical connection with the weight of manifest destiny. DJ extraordinaire Shep Pettibone likewise put his signature on the track by amping up the melodic hook and distinctive Roland 909 house beats, propelling it into the stratosphere of early-â90s house-pop. Cinquemani
88. Jody Watley, âLooking for a New Loveâ (1987)
âLooking for a Loveâ was the first in a long line of hits for former Soul Train dancer and Shalamar vocalist Jody Watley, who, by the end of the â80s, seemed poised to join the same league as dance-pop icons like Madonna and Janet Jackson. Like the latter, Watley aligned herself with a Prince cohort, Revolution bassist Andre Cymone, who whipped up some of the most defining dance-pop confections of the era for his muse. âLooking for a New Loveâ features jazzy piano, a portentous synthesized whistle, and Watleyâs original stark 8-track demo vocalââHasta la vista, babyâ was a calm, cool and collected sayonara long before it got cheesed up by the Terminator himself. Watleyâs follow-up, âDonât You Want Me,â might be more danceable, but itâs nowhere near as iconic. Cinquemani
87. Metro Area, âMiuraâ (2001)
Metro Areaâs foot-thumper âMiuraâ is nothing if not all-inclusive, ladling economical spoonfuls of tribal beats, Latin drums and funk grooves across what may be the hottest eight-minute bassline in the world. It was released in 2001, when all eyes were on Moroder for dance revivalism. Morgan Geist and Darshan Jesrani, instead, chose to infuse their techno sensibility with disco strings and boogie keyboards, providing a much-needed alternative to electroclash. Others tried to convince us that what they were doing was new (even if ânewâ meant âinjected with ironyâ), but the sound-for-soundâs-sake craftsmanship on this and virtually every other Metro Area offering bespoke a love for its source material so profound that it wasnât afraid to make its throwback nature blatant. Juzwiak
86. Hercules and Love Affair, âBlindâ (2008)
DJ and once-Butt magazine model Andrew Butlerâs Hercules and Love Affair outfit paid poignant homage to the queer manâs feelings of yearning, wish fulfillment, and survival on their sensual, vaporous, and bittersweet self-titled debut album. A fabulous experiment at looking at the present from some kind of beyond, their splendiferous âBlindâ was like a post-mortem address by âQueen of Discoâ Sylvester, reminiscing on libertine days gone by through the gender-bending voice of Antony Hegarty. A groovilicious, undulating foot-stomper that continues to stir the soul. Gonzalez
85. Todd Terje, âInspector Norseâ (2012)
It could be said that the world of dance, a dozen years into the new millennium, was just ready for a little unabashed brightness amid the proliferating subgenres of EDM, grime, trap, vaporwave, and post-dubstep. (Just a single spin of Blawanâs homicidal 2012 hit âWhy They Hide Their Bodies Under My Garageâ would be enough to make one run screaming from the dance floor to never return again.) And if thatâs the case, it shouldâve surprised no one that that much-needed dose of uppers came from the Land of the Midnight Sun. Norwegian DJ Todd Terje (yes, thatâs a riff on Todd Terryâs name, and yes, thatâs what all Scandinavian humor is like) was already a rising figure thanks to âSnooze 4 Loveâ and a series of quirky re-edits, including Chicâs âI Want Your Love.â But the world reacted to the release of the knowingly absurd loping synth riffs of âInspector Norseâ like a group of preteen boys coming in from a game of touch football to a tray full of Sunny D. And when critics said his music was fit only for strandbars (Norwegian for âbeach barsâ), Terje turned around and called his next relentlessly chipper disco-house release, âStrandbar.â Thatâs some A-grade Norwegian passive-aggressiveness right there. Henderson
84. The Knife, âSilent Shoutâ (2006)
Pac-Man and his red-bowed honeyâs wedding song? The metronomic productionâminimalist but intense beats chasing each other as if in and out of love, or nightmaresâis perfectly and surreally married to the equally disquieting lyrics, which recount a flashpoint in a personâs life when their sense of complacency is shattered by a dream of falling teeth. Is that love or death on their horizon? Like much of the Knife and Fever Rayâs music, or a Luis BuĂ±uel film, the song seduces as it frightens. Gonzalez
83. The Flirts, âPassionâ (1982)
Bobby Orlando became something of a disco pimp in the time between 1979âs âDisco Sucksâ blowout and house musicâs takeover. Representing New York, he released an unending stream of hi-NRG records in the early â80s, which varied wildly in quality. Among his best production work, though, was what he did for the Flirts, a trio of women with an almost constantly rotating lineup. Maybe itâs just that his pimpishness was never more lucid. Certainly, his girls more than held up their end: 1982âs âPassionâ is a sleazy romp of gushing synths and a bobbing erectionâI mean, bassline. The title isnât trying to twist love with sex, itâs just describing work ethic. Juzwiak
82. BjĂ¶rk, âBig Time Sensualityâ (1993)
BjĂ¶rkâs got the turtleheart of a bona fide boogie monster of the hardest order, as anyone whoâs watched her jam out to LFOâs âFreakâ while performing âHyperballadâ live can plainly see. But even at the height of her mixtape era (namely 1993âs Debut and 1995âs Post), she seemed to perpetually intellectualize herself out of simply reveling in, to borrow from Deee-Lite, just âa good beat.â Nellee Hooperâs original production on âBig Time Sensualityâ had the bones of a great dance song, and BjĂ¶rkâs lyric appropriately harnessed her âbig feelingsâ to match that message up. (If âI donât know my future after this weekend, and I donât want toâ doesnât sum up that most eternal 3 a.m., nothing does.) But it took Flukeâs scope-widening remix of the song to bring its anthemic potential into full bloom. It takes courage to try to best BjĂ¶rk, but in this case it paid off big time. Henderson
81. Armand Van Helden featuring Roland Clark, âFlowerzâ (1999)
The resolutely hetero B-boy Armand Van Helden (the same dude who would later rap âIâm looking for them female ejaculates, spreading that koochy with the masturbatesâ) was probably the least likely house producer this side of Green Velvet to provide the resurgent disco-house craze of the late â90s with a swoony anthem. Surprise, surprise. He offered not just one, but two. His Carrie Lucas-sampling âU Donât Know Meâ was the overtly flamboyant club smash, a euphoric swirl of disco strings and an almost preternaturally perceptive approximation of just the sort of âFuck you, Iâm fabulousâ soundtrack drag queens love to step off to. But, truthfully, itâs not all that difficult for straight guys to fake fierce. They âgetâ that aggressive aspect of gay culture. Whatâs trickier and more elusive is replicating the guileless, hedonistic abandon of total, submissive rapture. Thanks to a lush, spangled sample from Donald Byrdâs classy âThink Twiceâ and aided by Roland Clarkâs astonishingly unbridled, almost Philip Bailey-esque falsetto, âFlowerzâ is the gayest filtered disco record that doesnât suck, executed without a trace of misguided testosterone. To be overwhelmed by the overdubbed vocal harmonies on the chorus is to experience the excitement of walking up that ramp to the Paradise Garage all over again. If you listen closely, you can even hear the tambourine from that clubâs logo quivering in the background. Henderson
Interview: Composer Terence Blanchard on Upping the Ante with Da 5 Bloods
The jazz trumpeter and composer discusses the evolving nature of his collaborations with Spike Lee.
“It was totally by accident.â Thatâs how Terence Blanchard describes how his first collaboration as a composer with director Spike Lee came about. Blanchard was working as a session player on the orchestrations for Moâ Better Blues when Lee, after hearing some music that he was working on, used it in the final film. Not long after, the filmmaker called Blanchard out of the blue and asked him to compose the full score for Jungle Fever. âWeâve been working together ever since,â says Blanchard.
Their latest collaboration is Da 5 Bloods, about four African-American veterans who return to Vietnam to look for the remains of their platoon leader, as well as a load of buried gold. The film is an at once hilarious and moving study of the complicated nature of patriotism, and it benefits Slantâs as Chuck Bowen put it in his review of the film, âfrom the wrenchingly serendipitous timing of being released in the midst the largest civil unrest in America since the protests of 1968.â While politicians remain busy trying to make America great again, the soldiers of the film dare to ask: âWhen was America ever so great to begin with?â
On the eve of Da 5 Bloodsâs streaming release, I spoke with Blanchard about matching his score to the tonal complexity of the film, the evolving nature of his collaborations with Lee, and why he considers the film to be the directorâs very best.
Having created film scores for numerous filmmakers over the past three decades, how does working with Spike differ? Having worked together so frequently, have you developed a shorthand for how to communicate what it is heâs looking for?
Working with Spike is totally different. When we first started working together, he told me what he liked and what he didnât. He doesnât like underscoring scenes, but he likes strong melodic content. We have a common, shared sense in music, so I know what heâs looking for. Nowadays, before beginning a new project, we have a conversation about what weâve done in the past and how we can move forward and try something different. Spike will send me the script before they begin shooting, and then after production is finished and Iâve seen the film, Iâll start compiling thematic ideas. Once I do that, Spike goes through them and assigns them to different characters or situations related to the film. After that, we meet up in the studio.
When you first get the script, are you making some notes for yourself about where orchestral music might be needed?
I did that earlier in my career and it wound up being a catastrophe. When I did that, I soon realized that what I was scoring in my head was my movie, not Spikeâs. While the script is helpful in giving me a general idea of the story, I now try to wait until I can actually see some of the finished film before beginning my process. When Iâm reading the script, itâs to my pacing, my cinematic vision, the colors I see in my mind. There was a scene in the Summer of Sam script where John Leguizamo and Mira Sorvinoâs characters are arguing in a car. I read the scene and got a sense of the dialogue and knew that they were having a fight upon returning home from Studio 54. But when Spike shot the scene, we see Mira get out of the car and then, all of a sudden, Spike keeps the camera on the empty seat. Thatâs not in the script! Itâs its own moment. Thatâs a drastic example, but those things can and will happen to varying degrees, so I try to wait until I can actually see something before starting my work.
Da 5 Bloods is both a film about the Vietnam War and a film about movies about the war, both an action movie and a contemplation of the long-lasting aspects of mass carnage and destruction. Were you looking toward other Vietnam War films to provide you with a roadmap? And in your score for Red Tails, a film about the Tuskegee Airmen of World War II, did the period of that particular war influence what you brought to it?
Thatâs a good question, because I donât know if itâs due to the specific period or if itâs due to war in general, you know? Red Tails was a different thing, Miracle at St. Anna was a different thing, and Da 5 Bloods is a different thing. Thereâs certainly a sound that I associate with these films, and that consists of a lot of brass and percussion. What I try to bring to it is a different viewpoint, as each of the war films that Iâve done have been told from the viewpoint of African-American soldiers. As a result, Iâve always tried to incorporate a certain type of self. Spike does a great job, in the source material, of giving you a sense of the flavor of the period, and in the case of Da 5 Bloods, thatâs Marvin Gaye. When you hear those Marvin Gaye songs, it sends you right back to that time period. I donât necessarily think that the score needs to do that, but we tried to make sure that those timeless songs could speak to everyone.
Did you and Spike discuss Marvin Gaye before the shoot?
We did. Spike wanted to take the music from Whatâs Going On and make it a character in the film. Spike is really great at nailing down his source material, his script, before he hands it over to me. Those ins and outs can be kind of tricky, musically, and we tried to make those moments as seamless as possible. Iâm not sure there was ever a moment in the film where I had to really think about what Gaye song was either coming before or after what I was scoring.
Did Spike note in the script that Wagnerâs Flight of the Valkyries must be included? That theme is, of course, most famously used in Apocalypse Now, a film that Da 5 Bloods acknowledges several times…
Yeah, thatâs part of Spikeâs reverence for film history. Heâs a film historian, man. He loves the war genre quite a bit and heâs always trying to pay homage to certain aspects of them.
The film often toggles between scenes in the â60s during the war and the present day, with soldiers returning to Vietnam. Did that provide you with opportunities to experiment a bit with thematic and time-based shifts that might match the story?
Yeah, and Iâve grown so accustomed to that when working on Spikeâs films. For example, Miracle at St. Anna is similar to Da 5 Bloods in that itâs a serious drama that happens to feature some very comedic moments. The comedy isnât based on something silly but rather on real-life situations, and so Iâve grown accustomed, musically, to going back and forth between the drama and the comedy. Generally, what I try to do, honestly, is stay out of the way. Spike always has great performances in his films. The only thing I need to do is enhance them. I donât need to help them tell a joke. I donât need to help them be more dramatic. The only thing I need to do is be their support. Thatâs the beautiful thing about working with Spike.
Are there certain instruments that jumped out as most appropriate for this story? There are a few moments in the film where we hear the soft pattering of drums and it feels inherently patriotic, like weâre attending a solemn military funeral.
You hit on it right there: the drums and the brass. In Da 5 Bloods, the soldiers are battling the Viet Cong. In Miracle at St. Anna, theyâre battling the Germans. As a result, I illustrated the distinction between the soldiers and their enemies by incorporating contrasting snares. For the Americans, we used nice, fat-sounding snares, and with the Germans in Miracle at St. Anna, we used lightweight, tight-sounding snares. We didnât have that same contrast on Da 5 Bloods. For the Viet Cong, I decided to incorporate a duduk, and for the Americans I used full-sounding snares, percussion, and brass. The thing that stuck out for me on Da 5 Bloods was that our main characters were going back to Vietnam and, as a result, you might sometimes forget that these guys were ever real soldiers. I didnât want people to forget! These are military guys who come back to Vietnam after many years removed from the warâs conclusion.
And given that the film is about a specific war and its long-lasting effects in the country in which that war was waged, were there influences specific to the culture of Vietnam that found their way into the tone of the music?
Yeah, and I tried to pick up on the little things, as that music has a certain type of melodic and harmonic structure to it thatâs a bit more pentatonic. Iâm pretty sensitive and careful, as I never want it to sound like Iâm trying to appropriate something from a specific culture. I want it to sound like Iâm paying homage. Thatâs why we brought in a really great duduk player for Da 5 Bloods. Sometimes we would give him things to play that were already written and other times we would let him improvise. It worked to great effect.
One melodic theme in the score that really jumps out comes when the men turn on the radio and learn of Martin Luther Kingâs assassination. The music takes on an innocent quality, or an âinnocence lostâ quality, that illustrates the soldiersâ internal pain.
Exactly, and it has a denizen quality too. For that composition, the thing I kept thinking about was, given everything weâve gone through in this country, what does it feel like to put your life on the line for a country that doesnât give a shit about your life? What does it mean to be a professional, to do your job, and then find out that the one person whoâs fighting for your rights back home, gets killed? And not only does he get killed, but the Viet Cong starts to take advantage of his murder by trying to get inside your head. That is, why would you even fight for a country that doesnât care about you? And those are legitimate points!
I kept thinking to myself that those guys had to be questioning quite a lot at that moment. It had to be a very sensitive and volatile time for them, filled with anger and filled with pain. As a result, I wanted to write something that was inherently innocent, as thatâs how I understood the mindset to be. Iâve had uncles that were in the Navy and in the Army during that time and Iâve listened to their stories and itâs both riveting and heartbreaking.
The first flashback sequence, where the soldiers get their chopper shot down and are thrust into combat, serves as the first big moment of action in the film, and the score swells accordingly. The stakes go from zero to one hundred in a matter of seconds. Does that affect the music you write to accompany it? Where things have to get amped up very quickly and match the dangerous predicament the characters find themselves in?
Dude, you have no idea. I think that sequence is a film class onto itself. I think itâs going to go down in history as being one of the great scenes of these types of movies. I even told Spike that. It took me five days to write the score for that sequence. I took my time with that scene because thereâs so much detail in it, so many shifts in emotion. Once the action starts, it doesnât let you out of its grip for damn near five minutes. I had to make sure that the music never bogged down. It took me five days to fully plot it out, two or three of which I just sat at the piano and plotted out the orchestrations before structurally enhancing them. Iâve thought a lot about that sequence, and the analogy Iâve been using is that itâs like being on a basketball court with Michael Jordan and he passes you the ball, because youâre wide open, and you drop the ball. You cannot drop the ball when youâre given filmmaking like this.
When does silence matter? The extended sequence where the men unwillingly discover active landmines is a great example of âless is more.â We hear the sounds of nearby cicadas, but thatâs within the scene itself. Do you discuss with Spike when your score should pull back and let the tense, diegetic sounds speak for themselves?
Yes, and thatâs a part of our process before we even go into production. We have discussions about that. Sometimes Spike chooses to have music where I probably wouldnât have music or, on other occasions, I want to place music in a scene where Spike doesnât think there should be any. Over the years, Iâve learned that the beautiful thing about our collaboration is that Spike may have something else stored away in his mind that heâs not telling me.
When Spike told me he was going to make Da 5 Bloods, I was like, âOkay, but you just made a great film, BlacKkKlansman, and maybe you should take a small break. I donât know how youâre going to step up.â And then, when I saw the finished film, I was blown away. Thatâs been our working relationship. He ups the ante with every film, and it makes me have to up the ante for myself on every subsequent project. I honestly think this is the best film heâs ever made and Iâm proud to have been a part of it.
It goes without saying that every Spike Lee joint feels prescient and topical regardless of the era in which itâs released, but perhaps thereâs no greater example of a film for this moment than Da 5 Bloods. Itâs being released at a period in time that may bring about sustained social change for African-Americans long wronged by their country.
I want to tell you what I think is most important about the film, in the context of its relevance to current events. When we talk about these social movements in time, these pivotal moments in our history, we usually hear about them from the viewpoint of a person who has somewhat aged, who has a few years on themselves. What I love about Da 5 Bloods is the fact that you have Delroy Lindo, Clarke Peters, Isiah Whitlock Jr., and Norm Lewis as part of a collective unit with Chadwick Boseman and, for whatever reason, when I first saw Chadwick, it made me realize how extremely young all soldiers are when theyâre first thrown into action. They have to be very responsible and very thoughtful at such a young age. This is something I reiterate to my students all the time. Given the pandemic, Iâm teaching my students online for the time being, but I let them know that this is their time, their moment. This is their time to make their mark. Donât think that itâs going to come around, that there will be another moment down the line that you can speak on. Donât be afraid to step out and make your statement now.
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