Three Colors: White (1994)


When jammed between the wondrously cinematic juggernauts Red and Blue, Three Colors: White gets lost in the shuffle. Even among ‘90s Kieslowski films—of which there are only four—Three Colors: White gets glossed over. In some ways it simply can’t be helped. It doesn’t have the visual gravitas or heavy dramatics to duke it out with the films it bridges but that isn’t to say it’s somehow bad or lackluster, far from it. In fact, attentive viewers will find it has just as much nuance and complexity as the rest of the trilogy. Continue reading Three Colors: White (1994)

Three Colors: Blue (1993)


A color can strike a mood, create a sense of visual unity and give a film identity. The first film in Kryzstoz Kieslowski’s Three Color’s Trilogy achieves all three. But it goes further than simple aesthetic effect; the color bleeds out of the screen and reaches further into things beyond. At first the idea to make a film based around a primary color seems a simple hook into the film to separate it from similar foreign dramas. But the influence of the color reaches further, goes deeper and touches upon almost every aspect of the film. The color simple isn’t an afterthought; it’s what separates this film from so many others similar to it. Continue reading Three Colors: Blue (1993)

Sherlock Jr. (1924)


Buster Keaton is one of the pillars of the comedic silent era, so much so that there is a long running debate between movie buffs over which is better: Buster Keaton or Charlie Chaplin. Both possess physical flair and hilarious dramas but that’s about where the similarities end. For instance, Keaton has a tendency to make the comedic elements spectacular, elevating itself beyond the narrative. Sherlock Jr. is a prime example of Keaton’s flamboyant tendency. Continue reading Sherlock Jr. (1924)

The Double Life of Veronique (1991)


What is a film? Put in its simplest terms it’s a string of images played back at high speeds that uniformly convey something to its audience. This often takes the form of a narrative in which the actions of the film perpetuate pacing and follow a narrative arc. Other times these images are used to convey some sort of truth about the human condition as fictional people simulate situations. It doesn’t matter what kind of film, every film uses its images to convey something. Therefore, when looking at any film it’s worth dissecting these images, whether from a technical, artistic or ideological angle. Continue reading The Double Life of Veronique (1991)

Jennifer’s Body (2009)

Jenifer's Body-Realstory

Going into Jennifer’s Body I expect a horror flick about the sexual appetite of a female in high-school. And if you want to judge on that simple thematic plane that’s essentially what I saw. In that way the film doesn’t have anything particularly profound to say. By being so blatantly obvious and lacking any further depth, the film fails as a satire, possibly even as a comedy. So what’s left? Luckily, the film has a few cards up its sleeves and some nice surprises along the way. Continue reading Jennifer’s Body (2009)

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