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Flavorwire's 50 Essential African-American Independent Films
Favs/dislikes: 7:0. While there are still too few African-American voices being recognized in Hollywood, recent films like Ava DuVernay’s Selma and Spike Lee’s Da Sweet Blood of Jesus speak to a vital tradition of black independent filmmakers. Even controversial creators like Tyler Perry hail from a long line of filmmakers that includes the directors and stars of the “race films” of the 1920s and 1930s. Many pioneering African-American directors, like Melvin Van Peebles and Julie Dash, were trailblazers who found money for their fiercely idiosyncratic visions. They defied expectations and proved that there was an audience for films about black characters as told by black artists. -
Emotion Pictures: International Melodrama
Favs/dislikes: 4:0. When many of us think about movie melodramas, the first names that come to mind are titans of Hollywood’s golden age, directors (Douglas Sirk, Nicholas Ray, Vincente Minnelli, George Cukor) and stars (Lillian Gish, Joan Crawford, Bette Davis) alike. But the melodrama is by no means a distinctly American or mid-century genre, having laid its roots during the silent era (in the work of D. W. Griffith, Erich von Stroheim, F. W. Murnau) before flowering in Japan (Kenji Mizoguchi, Mikio Naruse), Italy (Pier Paolo Pasolini, Federico Fellini), England (David Lean), and elsewhere. Indeed, the careers of many key filmmakers of modern cinema have been predicated on radical reinterpretations of the form, as in the work of Rainer Werner Fassbinder, Pedro Almodóvar, Todd Haynes, Leos Carax, Lars von Trier, Wong Kar Wai, and Guy Maddin. This series pays tribute to the genre that boldly endeavored to put emotion on screen in its purest form, featuring classics from the silent era and Hollywood’s Golden Age to major mid-century films from around the world to modern dramas and subversive postmodern incarnations. Bring tissues. -
NOW: Films that Inspired the Safdie Brothers' Good Time
Favs/dislikes: 1:0. Movie crime, real crime, heroes, zeroes, the naked, the dead and the termites eating away at your Lazy Boy's legs. Here's a bunch of movies that kept us hot and bothered all through the conception and realization of our newest feature. There's a nylon thread running through 'em: the hapless plight of the snakebit fool, bouncing through life like a pinball, responding shrewdly to the moment but having zero say in the future. It's the present tense alone makes the hero holy, and it's his utter impotence in the grand scheme of life that makes him human. So enjoy the NOW!