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In addition to my usual indie discoveries, I’m going to start tackling some classics here. Not that they need me to bring attention to them, but when a film endures this long, it’s usually because there’s a lot to talk about. I tried to go see a Harold Lloyd movie at the Film Forum a few years ago but was stymied because, I shit you not, the theater caught on fire about twenty minutes in and had to be evacuated. So Safety Last! was my maiden voyage with Mr. Lloyd, and what a treat it turned out to be. If you’re unfamiliar with his work, this is a perfect place to start. Continue reading
Ottessa Moshfegh lifts the rock of our inner lives to see what sort of critters writhe beneath in darkness. While she thoroughly explored the inner lives of troubled protagonists in her novels McGlue and Eileen, Moshfegh’s tight-yet-roomy plotting lends itself well to short fiction. Because of this, there is perhaps no better display of her unique talents than Homesick for Another World, which features new pieces alongside stories that previously appeared in The New Yorker and The Paris Review. In each story, a cockeyed protagonist is confronted by exactly the kind of pain they need to grow. That may sound rote, but Moshfegh dazzles with her abilities to sidestep sentimentality in favor of plot development, to humanely portray the broken, and to slowly unfold a surprise. Continue reading
In two of her previous historical novels, Sabina Murray used the “I” point of view to examine different eras from a personal vantage, inhabiting a character to assess shifting political attitudes from up close. In Valiant Gentlemen, she drops the “I” in favor of three distinct perspectives: Irish patriot Roger Casement, his close friend Herbert Ward, and Ward’s wife, the heiress Sarita Sanford. Using these three lives, Murray examines the last burning years of the 1800s and how they influenced the First World War, painting a broad picture of gender and sexual politics at the turn of the last century, and leaving us to ponder how we got to now.
Watch it with us: Netflix streaming
The trope of the doppelgänger is a perennial favorite in the thriller and horror genres. There’s something fascinating and terrifying about the idea of a total stranger walking around with your face. We think of our bodies as synonymous with our personalities or souls, so the idea of two identical bodies with vastly different souls is fertile ground for horror and suspense. The Scapegoat was adapted by television director Charles Sturridge from a Daphne du Maurier novel that explores the same territory as The Prince and the Pauper: two physically identical men who trade lives and pretend to be each other; only here, the consequences are far more serious.
Watch it with us: Netflix streaming
Horror comedies and demon possession movies are both having a moment, but Ava’s Possessions is the first film I’ve heard of that combines these genres. Director Jordan Galland’s 2015 indie is an amusing genre mashup, but it also uses possession and exorcism as metaphors for mental illness and addiction, presenting horror not as a one-time event but as an ongoing challenge.
Rebecca Kauffman’s debut novel, Another Place You’ve Never Been, begins with a short prologue, a story unrelated to the main cast of characters. In this haunting tale shared among the Ojibwa tribe of North Dakota, two brothers go for a swim in a murky pond. The younger boy is bitten by poisonous water moccasin snakes and later dies. In tribal lore, he becomes a spirit with transformative and healing powers; this story is repeated from neighbor to neighbor, from parent to child.
Then the children will retell the story to one another. They feel something different in each retelling. They are learning that sometimes it takes a thousand voices to tell one story.