The Art Idiot: Volume III, Issue II
An Aries Full Moon with a side of some Art Idiot and the return of film reviews
Since entering the “professional” world, professional in quotes because it seems society has lost all sense of professionalism, it’s painstakingly mind-boggling to me that a majority of people do not read. Every day we craft emails, text messages, love letters, memos, and more with such care; highlighting, bolding, underscoring, with extra!!!!!! exclamations points for the really important parts because people do not read. Do you have any inkling of what that feels like as a writer? To thoughtfully string words together in a way that keeps the audience enticed while simultaneously trying to convey an argument or opinion or purpose, taking significant time to do so, only for people who do not read.
In a world where time is fleeting, time is precious, time is money, I must make it absolutely, perfectly, undoubtedly clear that I care deeply for your time; I’m here to ask for your reciprocation and permission to push you to engage more with the world’s creative mediums.
How does one communicate knowing that no one is listening? Does the fallen tree make noise if no one is around to hear it? Regardless of this impeding lack of intellectualism that is sweeping our generation, I continue to keep my audience at the forefront. Many of my critic, writer, artist, and creative friends strongly oppose my approach; “I never think about the reader/viewer at all.” And as I blossom and evolve into the writer I will one day be, what would be the purpose if no one understands or feels compelled to engage with what I am putting into the world? I want there to be as little error as possible between the intention of my words and the perception of them; am I making myself clear?
Unlike many of the historically great philosophers and contemporary institutional frameworks, I do not conceive world salad for the sake of nourishing my own mind. My favorite and the most unconventional takes come from those who are novices. Our fear of being wrong or sounding “dumb” is crushing our ability to engage and interact and challenge and grow. I remind myself of this every time I hit publish; this publication, this framework and medium, holds me accountable to publicly stumble and succeed, hoping that it encourages others to do the same.
I may be doing this whole thing wrong; call me a bad critic, call me an art idiot.
Featured Films…
A look back at titles from Telluride Film Festival and a sneak peek at what’s to come at the Chicago International Film Festival and more, this Fall.
Anora - 4.5 stars
Sean Baker’s Anora is this year’s Saltburn for those who have an acquired taste for movies that don’t make decisions solely for the shock factor. The young and dumb escapade truly captured my attention through the entirety of its run time; I wrote not a single note and suffered silently with a bloody nose through the last 35 minutes to avoid missing a single second. Lead actress Mikey Madison runs through this Russian Rendez-vous with unflinching commitment; another prime example of how the strongest strength of 2024’s films is their actors’ exceptional performances. I’ll indeed be seated for this wild ride again. In theaters, October 18th (or 25th, location dependent). *
The Piano Lesson - 4 stars
"Based on the 1987 August Wilson stage production, “The Piano Lesson” is a heartfelt depiction of how an object, specifically a familial heirloom, is much more than its materiality and sentimental value. With the increase in distribution that Black films are receiving, it is easy, and sometimes lazy, to label them as stories of overcoming generational trauma. In this case, Malcolm Washington’s adaptation of “The Piano Lesson” is an exceptional story of generational power and the protection that family and one’s ancestors provide us." Full Capsule via Roger Ebert. Opened the Chicago International Film Festival, October 16th. On Netflix, November 22nd.
Maria - 4 stars
“A Breakfast Movie” director Pablo Lorraín said about our 9 in the morning screening, and what an absolute treat this was. With respect to my opening plea, Angelina Jolie shared during the q&a that reception and connection to an audience is a pillar of hers and her artform; it is what drives a medium forward and creates communal empathy. In Maria, similar to that of Spencer and Jackie, Lorraín creates and intensely intimate glimpse into a few short days of a matriarchial icon; there’s an affinity for depicting women losing their minds so beautifully, poetically, authentically, and painstakingly. Maria digs even deeper into the audience, and to Angelina Jolie as an artist, as we witness the loss of her ability to perform her craft; the combination of the movie and music mediums strikes a match in our hearts that swiftly burns and leaves its mark. Playing at Chicago International Film Festival, October 18th. On Netflix, December 11th.*
Nickel Boys - 4 stars
“While it is easy to nitpick a film for what it lacks, I think the ambiguity the audience feels throughout the film enhances the mission that Ross is working towards. Coming from the documentary filmmaking world, Ross’s approach to his first narrative feature still keeps elements of documentary filmmaking which translates spectacularly into the fictional storytelling space. By turning up the notch on these techniques, he demonstrates his ability to keep the truth at the forefront of his work as both a documentarian and narrative director. Ross’s work is creating and contributing to an archive for Black American stories; with “Nickel Boys,” we observe a candid, raw portrayal of two young Black boys as they embark on a journey towards greater possibilities." Full Capsule via Roger Ebert. Playing at Chicago International Film Festival, October 23rd. In theaters, October 25th. *
The Wild Robot - 3.5 stars
A relationship between a robot and a bird brought tears to my eyes, joy to my heart, and deepened my appreciation of all motherly figures. The maker of many of our childhood favorites, DreamWorks (Shrek, Spirit, Bee Movie), proves they’ve still got it after 30 years; The Wild Robot is some of the best animation and creative storytelling of the decade. (not watched at a festival) In theaters, now.*
Additional features from Telluride:
The Apprentice - unfortunate, great performances about disgusting people; described as “an American horror story” by director Ali Abbasi (2.5 stars, in theaters now)
Piece by Piece - a poor excuse for a documentary, but a great lego movie adaptation of Pharrell’s Wikipedia page; the animation and the music make it worthwhile (2.5 stars, in theaters now*)
September 5 - “Similar to movie-making, live television production requires a balance of technical excellence and prioritization of the order in which plot points are uncovered. Where Alex Garland’s “Civil War” falls flat in attempting to address the conflicting nature of capturing devastating events in live time, “September 5” excels in conveying the integral, considerate role journalists must play. “ Full Capsule via Roger Ebert (3.5 stars, Playing at Chicago International Film Festival, October 22nd. In theaters Nov/Dec)
(some) Additional forthcoming features from the Chicago International Film Festival:
Flow
Nightbitch
Cloud
The Brutalist*
No Other Land
*denotes my prediction of the film’s award season inclusion and likely nominations
Some Sound to Go…
KAVEH & CK’S SCREENING ROOM SEASON II IS COMPLETE!
My favorite episodes:
Our flashbacks series: 4 from the 40’s & 5 from the 50’s
Season finale: The Substance, Megalopolis, & Other WTF Movies:
