Critical analysis of films that deserve your special attention. Whilst the sections for Tarkovsky and Bergman suggest themselves, I also decided to dedicate separate spaces to two contemporary directors whom I respect: Steve McQueen and Nicolas Winding Refn. The last section, Either/Or, features various films which I either consider to be there or thereabout at the hight of the aforementioned maestros' work, or to be of theoretical interest alone.
Andrei Tarkovsky: In progress. Following the reevaluation of my fifth draft on Ivan's Childhood, I am going to approach this project a little differently. I am hard at work to restart what would be the sixth draft of Ivan's Childhood. Please stay tuned.
Ingmar Bergman: Research in progress. The provisional list of movies is settled.
Nicolas Winding Refn: Nicolas Winding Refn's has proved to be highly divisive. Yet, whether one loves or hates him, one cannot ignore his work. Whilst I consider him one of the most important film directors of all time, I also think that his true significance is obscured. This section focuses on the critical aspects of the film, the context wherein the film finds itself, and how Refn expresses them cinematically. The first article offers an in-depth analysis of Refn's most divisive work to this day, Only God Forgives. I am currently preparing an article on The Neon Demon. Please stay tuned.
NWR, Rivisited: This section is also dedicated to the work of Nicolas Winding Refn. This section is about the analysis of each film itself, and thus focused on what Refn probes and expresses cinematically. Whilst Refn's theory and aesthetics cannot be separated from one another, in order to fully appreciate the significance of his work, I deemed necessary to write two separate pieces for some of his movies, if not all of them, for the sake of clarity. The first article for this section is on Only God Forgives and is in preparation. Please stay tuned.
Steve McQueen: Steve McQueen certainly enjoys acclaims from all corners. Whilst I am happy to see the praises heaped for the Briton, I am also concerned that the subjects of his work, which made his film so important, ironically obscures the true significance of his work. Therefore, I have decided to analyse what makes his seemingly classical directorial style is not mere aesthetic choice. The first article on his seminal film, Shame, has been published. Many more to follow. Please stay tuned.
Either/Or: The in-depth analysis on Alex Garland's controversial directorial debut, Ex Machina, has been published. It probes the film's theoretical triumph and its cinematic failure. Many more to follow. Please stay tuned.