Interviews Anything Is Possible: Josh and Benny Safdie on Uncut Gems by Adam Nayman A Concept of Reality: Sergei Loznitsa’s
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Cinema Scope 81 Table of Contents
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Anything Is Possible: Josh and Benny Safdie on Uncut Gems
At this point, the Safdies are young masters of their own aesthetic, which was in formation at the time of Daddy Longlegs but felt more fully realized in Heaven Knows What:a roving, probing, pulsating audiovisual weave that doesn’t so much privilege pace over clarity as locate one in the other. Their movies can be exhausting, enervating, and even annoying (and Sandler, to his credit, achieves genuine annoyance in many passages here), but they’re never confusing, and the lucidity of their storytelling—which never wavers even when their characters have no earthly idea what they’re doing—has become one of contemporary American cinema’s true and distinctive marvels.
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They Are All Equal Now: The Irishman’s Epic of Sadness
Since cinema is moving toward television, and since the MCU generation is trying to actually tussle with a good fella like Martin Scorsese, and since all of this is wrapped around a cultural moment steeped in glorious contradictions, the timing of The Irishman couldn’t be more perfect.
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Far from Paradise: Nina Menkes’ Queen of Diamonds
By Erika Balsom Diamonds are sharp and hard, rich in myth and violence, soaked in desire, totally under the putrid
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Garden Against the Machine: Ja’Tovia Gary’s The Giverny Document
By Michael Sicinski Ja’Tovia Gary’s filmmaking is all to some extent grappling with the question of identity, particularly its precariousness
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Cinema Scope 81 Table of Contents
