BLACK ORPHEUS, as the title might imply, is a retelling of the Greek myth of Orpheus, set in Rio de Janeiro with an all-black cast during the vibrant festivities of Carnival. As a refresher (because I had to look it up myself), Orpheus is the musician who ventures into Hades to retrieve his dead love. Unfortunately, the more compelling parts of that story (the going-into-hell parts) get far less screen time than the introduction of Eurydice and the love triangle that results. But this isn’t a film about the uneven storyline or the undeveloped characters. It’s only about the colors, costumes, dancing, and of course the revolutionary bossa nova soundtrack, which apparently paved the way for João Gilberto to do his thing. It’s certainly a fun film to watch, especially once the celebrations get fully underway, and it has some neat surreal elements towards the end. The viewer should be aware that the film’s clear love of Brazilian culture is a little tainted by its outsider French, white director. But that won’t stop me from my love of drawing dancing people.


454. Europa


I make no secret of the fact that I don’t really like Lars von Trier. (See my entry for Antichrist.) So I was wary of watching EUROPA, one of his earlier works—and pleasantly surprised when I actually enjoyed it. The story follows an American pacifist who has decided to take work in post-WWII Germany, of all places, as a sleeping car conductor. He falls in love with the railway magnate’s daughter, and soon finds himself embroiled in violent, political events that force him into choosing a side. It’s a passable plot made exponentially more interesting with the film’s beautiful cinematography. The visuals seem borrowed straight out of classic Hollywood and then deconstructed, so that color mixes with black and white, characters interact with their projected backdrops, and the romantic railroad setting suddenly feels dirty and claustrophobic. Add to that Max von Sydow’s disembodied voice implying that the whole thing is simply a hypnotist’s suggestion, and the end result is something strange, beautiful, and—compared to other von Trier films—sort of fun.


681. Frances Ha


FRANCES HA follows an aimless 20-something woman in New York City as she attempts to figure out her life. And if that sounds like a cliché, the execution certainly isn’t. Co-written by director Noah Baumbach and lead actress Greta Gerwig, the film toes a careful line between bleak and lighthearted, balancing a character who makes plenty of mistakes but has her heart in the right place. Enjoyment of the film is going to be pretty dependent on whether the viewer likes Frances or not, but for me, Gerwig has the charm and sincerity to pull it off from the start. And Baumbach’s direction keeps the black and white filming as playful as its subject. A favorite moment has to be Frances embarking on the most disappointing Paris trip in film history. But what stays with me more than anything are the explorations of themes severely lacking in cinema: the idea that creative ambition doesn’t have to end in wild success or miserable failure; and the elevation of friendship to the status usually reserved for romance. More of that, please.


Today is Criterion Affection’s birthday, five years from when I first posted an illustration of Wong Kar-wai’s IN THE MOOD FOR LOVE. And I just wanted to take a moment to thank everyone who has been following, commenting, suggesting, and sharing my little pet project ever since. You are all fantastic! It’s been so much fun being a part of the online Criterion community and having the chance to talk about films. It’s also pretty rewarding for me to look back and see how my illustrations have evolved and improved over the years. There are still three days left to buy prints of everything, so don’t forget to do that.

And finally, to the hardworking folks over at Criterion: this has all secretly been a five year job application. Call me.

121. Billy Liar


Happy new year! Remember, there’s only a week left to buy this and all of my other Criterion illustrations as prints.

I can be picky about films depicting disaffected teens, but the 1963 kitchen sink drama BILLY LIAR is perfectly subtle and charming. The titular liar Billy, played with a ton of range by Tom Courtenay, relies on fantasy to get himself through his dull middle class life. He’s a lazy clerk for an undertaker, juggles two girlfriends he doesn’t much care about, and dreams of ruling an invented struggling nation. It’s all very sweet, but the film comes alive at the introduction of Liz, played by an absolutely dazzling Julie Christie, who is living the carefree freedom that Billy only pretends at. The interactions between the two are beautiful to watch, and drive the film towards a moving end. I particularly appreciate that most everyone in the story is treated sympathetically, fitting for the on-location realism that marks the film’s visual style. Outside of Billy’s make-believe world, there are no real villains, no right or wrong decisions, and nothing is quite black and white.


701. Persona


Criterion Affection prints are still available from now until January 7th! Purchase this illustration and others right here.

It’s clear from the first few minutes of Ingmar Bergman’s PERSONA that this film is something special and strange, and just a bit creepy. It opens with a collage of shocking imagery before settling into the main storyline of a young nurse charged with the care of an actress who has suddenly gone mute. They retreat to the seaside for her recovery, and there they spend most of the film alone in each other’s company. The performances by Bibi Andersson (with all the dialogue) and Liv Ullmann (with no dialogue) are both incredible, as their relationship shifts between amicable, intimate, hostile, and sexually charged. They’re highlighted by stark black and white cinematography, and propelled by just enough plot to keep things moving before the story starts to fray and fall apart. PERSONA is a puzzle of identity, gender, and existential angst that I have neither the space nor qualification to unravel. But even at face value, there’s no escaping the film’s mysterious emotional impact.



Prints for Sale


Today is my birthday, everyone! But there is another important milestone that is fast arriving: the five-year anniversary of Criterion Affection. As of January 5th I will have been sporadically watching and illustrating these films for five years now, and I wanted to do something special to celebrate that fact. And so, for a limited time only, I am selling prints. That means for the next two months you can purchase a print of every single illustration I have ever done on this blog. That’s right. Your favorites, your not-so-favorites, the five-year-old illustrations I’m too embarrassed to look at anymore—they are all available. And any artwork I complete between now and then will automatically be added to the shop. After January 7th, the prints will come down and you probably won’t be able to buy one for the next five years, so keep that in mind.

And thank you to everyone who has been reading, following, sharing, and commenting on this blog since I’ve started. It means so much to me.


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134. Häxan


Happy Halloween! Previous Halloween installments can be found here and here.

The 1922 silent film HÄXAN is not entirely sure what kind of movie it’s trying to be. Or rather, HÄXAN knows exactly what it’s trying to be, and it’s merely the audience that’s unprepared for it. Starting as a straightforward lecture on the belief in witchcraft in the middle ages, complete with engravings and a disembodied pointer, it soon moves on to a dramatization of medieval life. That’s still perfectly normal for a documentary. What is less normal are the dramatizations of the fictional things that witches do: a bacchanalian witches’ Sabbath, a woman cheating on her husband with the devil, nuns being possessed. And if that weren’t enough, the film gets extra grim when it goes into the undiluted events of a witch trial, including a full catalog of torture equipment and their use. One has to wonder if the director wanted his documentary to have shock value, or if he wanted to lend his horror film some academic legitimacy. And what is there to make of the fact that the director, himself, is cast as the devil? None of it is very shocking today, but it is incredibly entertaining, with great comedic timing and some gorgeous visual effects. A fun spooky way to spend your holiday.


The description of SECRET HONOR tells you right away that this is the kind of movie that can either triumph or fail. Phillip Baker Hall plays a recently resigned President Richard Nixon, who delivers a 90 minute monologue into a microphone, surrounded by portraits, whiskey, and a gun. And that’s it. With the wrong actor or director, this could have been a pretty painful 90 minutes. But Phillip Baker Hall is incredible, careering between depression, rage, joy, shame, and manic bouts of paranoia that are constantly engaging, even if it’s not exactly clear what he’s talking about. (My very limited knowledge of politics meant that I was furiously Googling everything as he spoke.) Robert Altman’s deft direction doesn’t hurt either, and he makes full use of his single actor and set. Particularly memorable are the row of television screens that sometimes display security footage, but more often are trained on Nixon’s face. It’s fear and ego wrapped up into a nice little visual, just as Nixon’s complexities are wrapped up into this deceptively simple film.


If you want to see my reaction as a comic, check out my cameo on Jordan Jeffries’ blog, where he’s chronicling everything he sees in theaters.

I was pretty excited when I went to see this French coming of age film, since there are few quality lesbian films in the world, and hardly any that I would consider Criterion caliber. Unfortunately, I found BLUE IS THE WARMEST COLOR to be a disappointment. The script seemed to confuse meaningful looks and beautiful close-ups with actual character development; I felt like I sat through the entire three-hour epic without learning anything substantial about either protagonist, other than the fact of their being in love. (This is through no fault of the wonderful actors.) The motifs I found interesting—self discovery, the minefield of high school opinion, the clash of differing backgrounds and professional goals, the insufferable side of the art world—were usually dropped without deeper exploration or even resolution. And what was left felt more like a romanticized fantasy than an actual comment on relationships. Despite my flippant drawing below, one thing I actually quite enjoyed was the controversial and very explicit portrayal of sex. Regardless of its accuracy, it was nice to see lesbian sex shown as rough and passionate, not just gentle and fluffy all the time.



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