Articles by Calum Marsh
Diminished standards, ethical bankruptcy, the easy propagation of mistruths—unique to modern journalism? Let’s consider the history.
Seen today, of course, CONTRABAND is hardly a call to arms. But its propagandistic thrust may account for the vigor of its action.
The emphasis in Fantasia is on ‘fan:’ it’s a festival mounted by and for enthusiasts, there to revel in their love of film.
Daring to exalt in the victories of the Hollywood system.
Ramon Zürcher’s ode to tension and release squeezes Jacques Tati-style preoccupations into the space of a tiny apartment.
‘Bruno Stroszek’ remains one of the great human characters because Bruno Schleinstein gave one great human performance.
On uncovering the truth as contradiction, an unmanageable sprawl of interference and noise.
Norman McLaren’s films needn’t be enjoyed theoretically—their vitality should be obvious to anyone, from ages three to a hundred.
On production histories and primal connections.
The films of Jodie Mack are above all else exceptionally beautiful works.