kottke.org posts about movies
The Track is a documentary film about a group of athletes training in post-war Bosnia to make the Olympics in luge.
The Track is a coming-of-age journey of three friends chasing their improbable Olympic dreams in post-war Bosnia. Training on a crumbling track left behind from the 1984 Sarajevo Winter Olympics, the boys are guided by their devoted coach Senad, whose fight to rebuild the neglected track mirrors his determination to create a future for his athletes in a country facing one of the highest youth unemployment rates in Europe.
Filmed over five transformative years, The Track captures an intimate and deeply human coming-of-age story set against the backdrop of a nation still recovering from the scars of war, political corruption, and rising nationalism. As the boys balance Olympic ambition with the pull of street life, heartbreak, and survival, their paths begin to diverge, revealing the stark realities young people face in modern Bosnia.
You can check the website for online and IRL showings; it’s on Amazon Prime in the US.
For his 2004 film The Life Aquatic with Steve Zissou, Wes Anderson enlisted Brazilian musical artist Seu Jorge to perform several of David Bowie’s songs in Portuguese. Jorge released an album of the songs about a year or so later.
A few weeks ago, to mark the 10th anniversary of Bowie’s death, Jorge released a hour-long set of him performing those songs:
Just an acoustic guitar, a microphone, and the beautiful coastline of São Paulo.
David Ehrlich is back with my favorite end-of-year celebration of film; here’s his look back at the best films of 2025 (YouTube). See the full list at Letterboxd. I’ve only seen five of these so it’s difficult to comment on the list as a whole, but I feel like Sinners should have been higher?
Along with Sinners and One Battle After Another,1 Wake Up Dead Man is one of my favorite films of the year. So I enjoyed director Rian Johnson breaking down the investigative scene in the bar in this Vanity Fair video.
This is, for me, even a little more personal than the previous movies because faith and religion is at the heart of this movie. And I grew up very Christian. I grew up not Catholic. This movie is set in a Catholic church. I grew up Protestant, kind of what we would call evangelical today. I was a youth group kid and it wasn’t just that my parents took me to church. I really, my whole perspective in life was really based on a relationship with Christ. It was very important to me. I’m not anymore, I’ve kind of grown away from that later in life, but it’s still something that I have deep feelings about. So this movie, in a way, by having Father Jud and Benoit Blanc kind of talk about this and kind of butt heads about it, it was a way for me to take both of those perspectives inside me and get them talking with each other.
The practical effect with the photograph (~10:05 mark) was 💯.
RiotGrlErin made some great mashups of Christmas movie posters featuring Muppets. I think my favorite is Oscar the Elf but the Die Hard one is so good too. Many more in this thread.
Christopher Nolan’s adaptation of The Odyssey is my #1 most anticipated film of 2026 and this trailer has got me revved up! Nolan’s trailers never reveal much, but still, it looks gooood.
I am still skeptical of Matt Damon at Odysseus. Zendaya as Athena, Charlize Theron as Circe, and Hoyte van Hoytema doing the cinematography tho! And how do you fit this entire story into 2.5 hours? (Unless Nolan’s gonna go for 3.5 to 4 hours?) Opens in theaters July 17, 2026.
For years now, the people have wanted only one thing: for Daniel Craig’s chicken-fried detective Benoit Blanc to feature in a Muppet movie (with Craig as the only human). Earlier this year, Netflix picked up the streaming rights for Sesame Street. That partnership has borne some unexpected fruit: Forks Out: A Benoit Blanc Sesame Street Mystery.
In the video, detective Beignet Blanc arrives to investigate who ate Cookie Monster’s triple berry pie.
I have arrived to this Street of Sesame on a sunny day turned cloudy. We have a culinary culprit in our oven mitts. And to solve this confectionary conundrum, we must look right in front of our googly eyes at Cookie Monster.
The whole thing is delightful. See also Nerdist’s Rainbow Connection: A Benoit Blanc Mystery.
Over his storied career, Steven Spielberg has made only four studio films about aliens: Close Encounters of the Third Kind, ET, War of the Worlds, and Indiana Jones and the Kingdom of the Crystal Skull — the outsized influence of the first two gives the impression that he’s made many more.
Over the past 20 years, Spielberg has favored more realistic fare (Lincoln, Munich, The Fabelmans) but this summer he’s back with an alien movie, Disclosure Day, based on an original story no less. Very excited for this! In theaters on June 12, 2026.
Hmm, I really don’t know about this one: an animated adaptation of George Orwell’s Animal Farm as a sort of Ice Age-ish comedy adventure? One commenter on YouTube says, “This movie is 100% gonna end with a random dance party scene with the pigs and humans dancing to something like Uptown Funk” and another suggests that “this is like a bad Family Guy joke from 2007 escaped into the real world”.
From a review in IGN:
Gone are the specific allusions to the Russian Revolution and the stinging critique of Stalinism laced into Orwell’s “all animals are equal, but some animals are more equal than others” allegory. Instead, Serkis paints the terrifying rise of porcine dictator Napoleon (Seth Rogen, playing brilliantly to and against type) in a broader brush for a modern era of big business run amok. In toning down the more graphic elements of its descent into totalitarianism and simplifying the depths of its commentary, the director and performance-capture pioneer trades a dystopian tone for something a little more uplifting. It’s a fun movie with some creative visual choices and a great cast, but it’s also hard not to feel like it lost some teeth on its journey from the page to the screen.
This Variety review isn’t much more encouraging:
Serkis’ 21st-century update dilutes Orwell’s political allegory in favor of what passes for something more “audience friendly”: His approach adopts the celebrity voices, cutesy character designs and antic, mile-a-minute energy of big-studio American toons. The result isn’t nearly as polished as Illumination or DreamWorks movies, but “good enough for government work,” as the saying goes.
Born Poor (PBS/Frontline) is a documentary filmed across 14 years about three kids in the US as they grow into young adults while “dealing with an economy where they face more obstacles than opportunities”. Free to watch online (probably US-only, so fire up your VPN if you live elsewhere). From an accompanying article:
More than a decade ago, the Emmy-nominated documentary Poor Kids portrayed poverty in America as it’s rarely seen: through the eyes of children.
Now, those kids — Brittany, Johnny and Kaylie — are all grown up, fighting to overcome the lingering impact of childhood poverty as they navigate young adulthood.
“Once you get in the hole, it’s extremely hard to find your way out,” Brittany says.
She, Johnny and Kaylie continue to share their experiences with the American public in Born Poor, FRONTLINE’s season premiere. Filmed across 14 years, the documentary follows these three kids from three families across three chapters of their lives — from childhood through the teen years to young adulthood — and offers a powerful, personal and longitudinal look at the realities of growing up in poverty in the U.S.
“Do I ever get tired of the struggle? Absolutely,” Johnny says. “But I feel like if you get another day to breathe and wake up and make something happen, you got to get off your butt and make it happen.”
The original documentary was filmed in 2012; I couldn’t find it on PBS’s YT channel, but I think this is it:
The filmmakers updated the film in 2017:
I haven’t watched all of these so I don’t know how much the three versions overlap, but the 2025 version at the top is ~30 minutes longer than the other two.
See also the Up film series.
A streaming services savings tip from the Nomadico newsletter that I was not aware of:
I’m going to add Apple TV at home after watching only part of Severance on a United flight, but I’ll likely subscribe in Mexico where it’s 28% cheaper than the USA. You can play this arbitrage game with most of the streaming services — I once got HBO on sale for $5 a month. In Mexico you can get the highest tier of Netflix for the price of the middle tier stateside, a 39% monthly savings (with a better studio movie selection too). Shop around if moving around. In Turkey, for example, the highest tier of Netflix with 4K hi-def is less than US$10 per month. Try regional gift cards, signing up while in another country, or using a good VPN for the first transaction.
Anyone else tried this?
In just a few days (Dec 5), the entirety of Quentin Tarantino’s Kill Bill duology will be released in theaters as one four-hour-long film. Here’s the trailer:
Quentin Tarantino’s KILL BILL: THE WHOLE BLOODY AFFAIR unites Volume 1 and Volume 2 into a single, unrated epic—presented exactly as he intended, complete with a new, never-before-seen anime sequence.
And there will be an intermission. I haven’t seen KB in awhile and am looking forward to this.
Oh, and QT has a Kill Bill collab with Fortnite? Apparently in the original script, there was a scene where Yuki Yubari (Gogo Yubari’s twin sister) tries to get revenge on Kiddo, but it was cut because the director deemed it “too much to chew” for one shoot. Using Unreal Engine 5, Fortnite characters, and a motion-captured Uma Thurman, Tarantino has finally made the scene a reality. You can find it in the game or watch it on YouTube:
I am not generally a fan of rom-coms so I didn’t think I was going to post Evan Puschak’s newest video, but he’s so good at them. Puschak argues that rom-coms are compelling because they reflect the modern challenge of finding meaning as individuals.
In the modern day, we live in a world without a cosmic moral order, a framework of meaning to which everyone automatically subscribes. We had one for a while. But round about the year 1700, give or take a century, that framework started cracking, fragmenting, losing its authority, and the burden of finding meaning shifted onto individuals. We all became desperate seekers in a confusing and disjointed world.
It’s no coincidence that this shift roughly coincides with the emergence of the novel as a form of storytelling. In a profoundly new way, the novel concerned itself with individuals, ordinary individuals — their internal motivations, their inner lives, their ability to overcome obstacles to achieve a goal. Novels both reflected and shaped the way modern people saw their identities as narratives; as stories with a beginning, middle, and end; as quests for meaning.
And if that’s not interesting to you, turn down the sound and enjoy the kinetic pleasure of watching people — Tom Cruise, Meg Ryan, Dustin Hoffman, Renée Zellweger, Hugh Grant — sprinting in a great 4-minute supercut.
On tour for the 35th anniversary of Home Alone, Macaulay Culkin said his kids love the movie, but don’t know he’s Kevin. They’re only three and four years old, so this makes sense, but it’s still hilarious.
And while they will even get excited when they see the young character in montages on Disney+, where the film is available to stream, Culkin said, “They have no idea that I’m Kevin.” “They’re only three and four years old,” continued the actor, adding that he wants “to keep up that illusion as long as possible.”
But also, did you know Angels With Dirty Souls isn’t a real movie? I didn’t.
Since we’re here, how about a Home Alone oral history from 10 years ago?
Mark Radcliffe
Chris wanted to do snow dressing as part of the background of the movie. Budgetwise, we couldn’t really afford it. On the second day of shooting, we had a blizzard. From then on, we pretty much had to bring in snow machines after it started to melt and match it for the rest of the movie. I remember that whenever the snow melted, we were spraying ice, and then they had problems with ice. The next thing, they were literally laying bags of ice to try and create snow.
James Giovannetti Jr., second assistant director
We had refrigerated semitrucks of shaved ice coming to the set. There must’ve been about 15 guys dumping tons of ice in the yard every day. We may have even got water in the house, because when it started melting, it started seeping into the basement.
Jacolyn Bucksbaum
The morning when Catherine O’Hara pulls up and finally gets home, it was gorgeous, real snow. The biggest snowstorm in years, and it was Valentine’s Day. Mother Nature really helped us out with that one.
There are actually quite a few Home Alone oral histories.
And most importantly, in my opinion, please read this thread about Die Hard vs Home Alone from two people with “philosophy” in their bio which includes the line, “The damned in hell are not more powerful for the fact that the fires do not consume them; it is part and parcel of their torment.”
I wonder if they could make Home Alone again now or does the ubiquity of cell phones preclude a lot of the dramatic tension the film relies on?
This is the trailer for an HBO documentary called Thoughts and Prayers about “the impact of the $3 billion active shooter preparedness industry on schools and communities across America”.
It’s tough to watch, as is this clip from the film in which a girl describes a bag of supplies that she carries in her backpack in case there’s a school shooting.
From David Ehrlich’s review in IndieWire:
Bulletproof desks that students can flip over at the first sign of trouble. A robot dog the size of a Pomeranian that jumps and yaps at the sight of an intruder. Inflatable body armor light enough for a first grader to blow up and hide behind. These are just a few of the more sensible products that are on display in the opening moments of Zackary Canepari and Jessica Dimmock’s utterly damning “Thoughts & Prayers” — the least farcical selection of props that contribute to America’s burgeoning active shooter defense industry, which now grosses more than three billion dollars per year.
Of course, that’s a small price to pay for the laughably transparent illusion that we’re taking any meaningful steps toward protecting our kids from being slaughtered in their classrooms. In a crumbling empire where common sense has been eroded by ideology, and the political will to solve a problem can’t hope to compete with the ghoulish impulse to profit from it, creating a new business sector might just be the only kind of healing that the richest country on Earth can afford.
It is totally and utterly and completely sickening that we choose to live this way in America.
Konnichiwa! I’m back from Japan and finally getting over my jetlag, which took much longer than I expected. Here’s a list of all the things I’ve been reading, watching, listening to, and experiencing over the past few months.1 Let us know what movies, books, art, TV, music, etc. you’ve been enjoying in the comments below!
Deacon King Kong by James McBride. This was my first time reading anything by McBride and maybe I have a new favorite author? I love everything about this story and the way he tells it. (A+)
The Da Vinci Code. One of my go-to comfort movies. “Scientific” art history detective story? Yes, please. (A)
One Battle After Another. Great. Especially Sean Penn. And it reminded me of a Wes Anderson movie for some reason? Like one that he would have made had he followed the Bottle Rocket path instead of the Rushmore Path. (A+)
Meredith Dairy Marinated Sheep & Goat Cheese. All cheese is delicious, but this one particularly so. (A)
Fantastic Four. It was ok? Aside from a few things, I’m having trouble getting excited about post-Infinity Saga Marvel. There was just a special alchemy about that whole arc that is proving impossible to reproduce. (B)
The Age of Innocence by Edith Wharton. Fantastic right from the first page. Sharp writing about social mores, reminded me of Middlemarch & Price and Prejudice in that respect. One of my all-time favorites, I think. (A+)
The Gilded Age (season three). Still enjoying the hell out of this show. Total suspension of disbelief is a must. (A-)
Mission: Impossible. I haven’t seen this in maybe 20 years and I guess it holds up? Not my favorite of the series though. (B+)
Tinker, Tailor, Soldier, Spy. Great spy thriller. Gary Oldman is fantastic in this. Cold War? Spies? Britain? I will pretty much watch as many of this type of movie as you can make. (A)
Leaving America. This is a 12-part podcast on the logistics, benefits, and challenges of leaving the United States. Oh, no reason. (B+)
The Fellowship of the Ring (and TT & ROTK) by J.R.R. Tolkien. It’s been a while since I’ve read The Lord of the Rings books and wow, are they long. There’s entirely too much “and they travelled from here to there” logistics that drag on over several pages and descriptions of hilltops & ancient landmarks that you only hear about once. But Andy Serkis narrating the audiobook? So good. (A-)
The Lord of the Rings trilogy. After each audiobook, I watched the extended version of the corresponding film. My general feeling after 65+ hours of audiobook and 12+ hours of movie is that the books are too long and the movies too short. An 18-hour mini-series — perhaps three seasons of six episodes each? — seems like the sweet spot. (A)
Star Trek: Strange New Worlds (season three). Maybe didn’t enjoy this quite as much as the previous two season, but I love spending time with these people and look forward to doing more of that when season four drops. (B+)
Jaws. Got to see this in the theater when they released it for the 50th anniversary. Spielberg had such a strong style right from the jump. (A-)
Paradise. Just fine. But I feel like there are better apocalyptic shows out there. (B)
Downton Abbey: The Grand Finale. It was so nice to head to the theater to nestle myself into the low-stakes world of Downton Abbey for 2 hours. (B+)
Daft Punk Fortnite. Love anything with Daft Punk. (A)
The Heaven & Earth Grocery Store by James McBride. Right after finishing Deacon King Kong, I did something I almost never do: started in on a different book from the same author. Loved this one too. (A+)
Tron: Ares. It was a loud NIN music video on a huge screen, what’s not to like? Jared Leto was fine, but there were probably better casting options here that the audience would have been more excited about. And the direction could have been stronger…Gillian Anderson and Greta Lee were both surprisingly meh. (B+)
Tron: Ares soundtrack. Better than the movie. (A-)
Total Recall. First time! Maybe a little too Verhoeven/B-movie for me. (C+)
Cars. I’ve seen this movie several times and what I noticed this time around is how incredibly expressive the cars are. You can just tell they worked very hard on that aspect of the animation. (A-)
Shopkeeping by Peter Miller. This was recommended from a couple of different vectors — pretty sure one was Robin Sloan. Lots of resonance to my work here and how I think about it (and want to think about it). (A-)
Japan. Absolutely loved it. (A+)
Iyoshi Cola. Craft colas are often disappointing, but this one was absolutely delicious. Wish I could get it in the States for less than $14 a can. (A)
teamLab Borderless. Some of this was too “built for Instagram” but a couple of the rooms (the one where it felt like the whole room was moving & the cathedralish one with the light strings) were great. (A-)
The Sumida Hokusai Museum. Had to make the pilgrimage here. (A-)
In Praise of Shadows by Jun’ichirō Tanizaki. Read this book about Japanese aesthetics while visiting Japan — it provided an interesting context. (B+)
Hokusai at Creative Museum Tokyo. Fantastic show…there were hundreds and hundreds of prints and drawings that showed his evolution and influence. (A+)
Okunoin Cemetery. Had one of the strongest senses of place I have ever experienced. (A)
Konbini. The Japanese convenience stores really are as appealing as you’ve heard. (A-)
Awakening Your Ikigai by Ken Mogi. Perhaps a little over-simplifying when it comes to Japanese culture, but I appreciated the message of having a purpose. (B)
Sho-Chan Okonomiyaki. When I got to Hiroshima, I knew I had to try their version of okonomiyaki, so I went to Okonomimura, a multi-story building crammed with okonomiyaki restaurants. I picked one and had one of the most surprising meals of my trip. So good. (A)
Blue Planet Sky. I spent a lot of time sitting in this room by James Turrell. (A)
Kanazawa Phonograph Museum. Lovely little museum, and a good opportunity to observe how successful inventions move from technology to culture/fashion/commerce. (A)
Princess Mononoke. I saw this in the theater on my last full day in Tokyo; they recently released a 4K remaster. Absolutely breathtaking. (A+)
Butch Cassidy and the Sundance Kid. Redford and Newman are both total smokeshows in this. And I’d forgotten how goofy this movie is. (B+)
A House of Dynamite. A very tough watch, but I thought this was fantastic as a tour of some of the different kinds of people who hold the fate of every single person on the planet in their hands every damn day. They’re tired, stressed, distracted, at cross-purposes with themselves, set in their ways, more celebs than leaders, and mediocre. And none of them have ever seen Dr. Strangelove? (A)
Past installments of my media diet are available here. What good things have you watched, read, or listened to lately?
Vanity Fair sat down with Harrison Ford and asked him to identify which of his lines he’d said in which movie, mostly as a way of getting him to talk about his career. A few observations:
- I love that they trolled him with The Star Wars Holiday Special…and he knew the line! “I’ve never seen it, which explains it. But I was there, though.”
- Harrison Ford was in Apocalypse Now? And George Lucas, when he saw the film (post-Star Wars), didn’t recognize Ford?
- On Blade Runner: “I like any cut without the narration.”
The story he tells about his first role with lines, in a film called Dead Heat on a Merry-Go-Round, is a good one.
Variety has done a bunch of these videos with actors & directors like Kate Winslet, Greta Gerwig, Carol Burnett, Jeffrey Wright, and Gary Oldman.
As part of the fascist war on “woke”, tens of thousands of books have been pulled from the shelves of libraries around the country over the past few years. On the front line are the nation’s librarians, “first responders in the fight for democracy and our First Amendment rights”. The Librarians is a documentary film about this latest wave of censorship & persecution of librarians; here’s the trailer:
From a review on RogerEbert.com:
“The Librarians” is a documentary about the hysterical, unfounded, personal, and sometimes violent attacks on librarians. It is also about their unwavering commitment to making facts, literature, and inspiration available to anyone.
And:
The film has some indelibly searing moments, linking these efforts to Senator Joseph McCarthy’s Red Scare, to Nazi propaganda minister Joseph Goebbels’ burning books by Jewish authors, and to the Twilight Zone episode “The Obsolete Man,” with Burgess Meredith as a librarian sentenced to death. There is a quote from President Eisenhower: “Don’t think you’re going to conceal faults by concealing evidence they ever existed. Read every book.”
The Librarians is out in theaters now but not very widely, so you’ll have to check the list of screenings on their web site.
In an interview lasting for more than an hour, classicist Mary Beard shares her knowledge & experience about how the picture of Rome we might have in our heads, inherited from Hollywood movies like Gladiator, is incomplete (and just plain wrong in some cases) and what the reality was, gleaned from Roman sources.
We’ve inherited the history of Ancient Rome through movies, ruins, and shallow stories. The truth is far messier, says classicist Mary Beard. The hidden side of Roman life that screens rarely capture is chaotic; crowded streets teeming with Romans whose everyday lives were shaped by social hierarchies and familial obligations.
Mary Beard unpacks what archaeology, literature, and even shoes tell us about the Romans’ daily lives. From the role of slaves in dressing elites to the rowdy crowds at chariot races, she shows how we’ve underestimated their complexity.
(via open culture)
Here’s the trailer for The Age of Audio, a feature-length documentary about the invention and popularization of podcasting, from Adam Curry to Ronald Young Jr.
I ran across this movie via a clip on Instagram that explains how the word “podcast” came to be; here’s the same clip from YouTube:
Every time there’s a new technology, it always has to be named the dumbest thing.
Whoever came up with the name podcasting, like what a dumbass name.
It’s so funny cuz the podcast community gets very heated about these issues.
Whoever invented the word podcast, I’m going to punch him in the throat.
See also blogging. 🫠
In his most recent video, Evan Puschak takes a close look at Marlon Brando’s face and gestures in a scene from On the Waterfront to explain how Brando changed film forever.
And this is what makes Brando a genius: when his eyes betray his words. His voice says, “What do you really care?” But his eyes say, “Please care. Please show me that you care.”
Welp, time to watch On the Waterfront, I guess.
Listening to Ethan Hawke talk about his career for 30 minutes is a treat. He starts with Explorers (which I loved as a kid) and continues with Dead Poets Society, Before Sunrise, Boyhood, and First Reformed. Good Lord Bird is on the list as well…I’m making my way through the book right now and I’ll be eager to check out the miniseries after I’m finished.
I wish they would have included Gattaca but you have to stop somewhere otherwise the dang thing’s gonna be an hour long.
It’s not often that a movie trailer makes you cry — but this one might.1
Come See Me in the Good Light is a documentary film about poets Andrea Gibson and Megan Falley facing a cancer diagnosis that took Gibson’s life earlier this year.
This is the beginning of a nightmare, I thought. But stay with me, y’all, because my story is one about happiness, being easier to find, once we realize we do not have forever to find it.
Falley’s letter published just after Gibson’s death will give you a sense of the spirit of the film & the two humans at the center of it:
A couple years ago, Andrea said, “Whenever I leave this world, whether it’s sixty years from now, I wouldn’t want anyone to say I lost some battle. I’ll be a winner that day.”
Whatever beast of emotion bucks or whimpers through you right now, I hope you can hold that line beside it: Andrea didn’t lose anything. If you had been here in our home during the three days of their dying — if you’d seen dozens of friends drift in to help, to say goodbye, to say thank you, to kiss their perfect face, if you’d felt the love that floored every hospice nurse — you would have agreed. Andrea won.
The film is set to premiere Nov 14 on Apple TV.
From director Kathryn Bigelow comes A House of Dynamite (trailer), starring Rebecca Ferguson, Idris Elba, and Greta Lee.
When a single, unattributed missile is launched at the United States, a race begins to determine who is responsible and how to respond.
A House of Dynamite is out in theaters right now and will be on Netflix in a couple of weeks.
If you were one of those people who loved watching DVD extras, you’ll enjoy the hell out of ILM visual effects artist Todd Vaziri breaking down some of the special effects that he and his team have worked on, including Rogue One, The Force Awakens, and Dungeons and Dragons: Honor Among Thieves. Introducing the video on his site, Vaziri writes:
My goal was to highlight the artistic process of visual effects. Movies like the ones I highlight in the video are crafted by hundreds of artists, technicians and production folks, all working together to achieve the vision of the director. I’m so proud to have worked with such amazing crews over the years.
Many of the effects he highlights aren’t the obvious ones — monsters, digital Leia, lightsaber battles — but rather effects that you’d never notice — indeed effects that you shouldn’t notice because they are designed to be seamless. Like a “dust poof” from a slingshot shot — it registers and helps sell the scene, but you’d never think, “oh, that’s an effect”.
The whole thing is fascinating — and the rope thing is genius.
I thought this piece from Isaac Butler examining how Daniel Day-Lewis goes about his acting work was really interesting.
I have always been haunted in some way by Day-Lewis. He is clearly among the greatest living screen actors, with a career that includes several performances that no one else could have accomplished at his level. But from when I quit acting through to when I wrote my own book on The Method, until now, I have always wondered whether the brilliance he is capable of requires the lengths to which he drives himself. As his techniques have been adopted by a whole generation of self-serious actors both good (Christian Bale) and not (Jared Leto), I have also come to wonder if the legends are even true. It turns out that the answers to both questions are far more complicated than I thought.
As someone who used to write quite a bit about relaxed concentration, I was especially interested in this bit:
Another reason, the one I find most persuasive, is that if you are able to live as fully as possible in the imagined reality of the character, you enter a flow state where you stop thinking and start doing and being. Day-Lewis struggles most in interviews to answer questions that require what he terms “objectifying,” or thinking outside of the headspace of the character. When he is on set, he wants to never be objective, to never interrupt the process of being and doing in order to think. When asked once about specific physical gestures he made in There Will Be Blood, he replied, “my decision-making process has to happen in such a way that I’m absolutely unaware of it, otherwise I’m objectifying a situation that demands something different.” When asked about the meaning of Bill the Butcher in Gangs of New York, he said he can’t answer the question, because “there was no conscious intention to show him as one way or another.”
This state of pure being is the actor’s equivalent of when great athletes are “in the zone,” or the trance that a jazz improviser enters when they’re really cooking. The name for it is a Russian word, perezhivanie, which means experiencing.
In 1969, Fred Rogers appeared before the Senate to argue against cutting federal funding for public broadcasting. During his testimony, Rogers recited a song from his show, What Do You Do with the Mad That You Feel? In this short video, Jon Lefkovitz accompanies Mister Rogers’ words with some music and short scenes from movies like Moonlight, The 400 Blows, Do the Right Thing, Lady Bird, 2001, and Return of the Jedi.
In his latest video essay, Thomas Flight praises the comfort film and shares some examples (The Big Lebowski, Perfect Days, Mon Oncle, Kiki’s Delivery Service, Moonrise Kingdom) from a few different types.
We want high stakes to make things interesting. But if you’re constantly being bombarded by conflict in your real life or the other media you’re consuming, it might be nice to spend some time with a story that takes a step back from high-stakes conflict as the primary narrative driving force.
I don’t know about you, but I am watching, reading, and listening to a looot of comfort media lately. (And by “lately”, I mean the past 8-10 years. 🫠) I felt this bit deeply:
There’s a point at which we can become trapped in chronic nervous system distress because of the media we’re consuming. Our brains are hardwired to scan our environment for potential dangers or problems. The media you consume can then end up releasing cortisol, raising your blood pressure, elevating your heart rate, inducing stress. And when we have access to this media in our pockets all the time, it means that places in our lives that may have typically been felt as a safe haven in the past, like maybe our living room or our bedroom, are now often the places where we’re really intensely and intimately consuming some of the most distressing media that we ever consume.
What are your favorite comfort movies? Any non-obvious ones? (E.g. I watch disaster movies as comfort films. The Day After Tomorrow, 2012, The Core, Deep Impact.)
In his latest video, Evan Puschak looks at the differences between Edith Wharton’s novel The Age of Innocence and Martin Scorsese’s 1993 film adaptation.
In every adaptation across artistic mediums, there is a loss. You lose something of the original, something vital. But hopefully you gain something too, ideally something that the new medium is uniquely good at expressing.
I’ve been thinking about the pros and cons of adaptation as I make my way through the entire Lord of the Rings trilogy on audiobook. I’ve been watching each of the movies after finishing the corresponding book, so I’m getting a really good sense how the books differ from the film adaptations. Some hardcore Tolkien fans were critical of some of Peter Jackson’s choices (leaving out Tom Bombadil for instance) but as the 20-hour+ audiobooks attest, you can’t leave everything in — and there are long sections where the books’ narrative drags like a rusty muffler.
Even after reading a couple of reviews and watching the trailer, it’s difficult to understand what the Austrian film Little, Big, and Far is actually about. So here’s the official synopsis:
Austrian astronomer Karl is at a crossroads in his life and work. He finds his physicist wife growing distant and his job being reshaped by environmental crises as thoughts about science, fascism, and his grandson’s future spin above his head. After attending a conference in Greece, Karl decides not to return home and heads for a small island in hopes of finding a dark enough sky to reconnect with the stars. Abandoned at a remote mountain trail, he ascends and waits for darkness to fall.
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