In his Cinesthesia program notes, Jason Fuhrman celebrates the near-perfect achievement of Terrence Malick’s second feature, Days of Heaven.
In his Cinesthesia program notes, Jason Fuhrman argues that the bleak future envisioned thirty years ago in Paul Verhoven’s RoboCop seems curiously familiar.
Jason Fuhrman previews an animated short screening tonight at MMoCA’s final Rooftop Cinema this summer. He argues that 663114 develops a theme frequent in the work of Japanese animator Isamu Hirabayashi: the complex relationship between humans and their environment.
In his Cinesthesia program notes, Jason Fuhrman argues that Being John Malkovich seduces us into an alternative reality while retaining its own singular logic.
Jason Fuhrman’s program notes for the Cinesthesia screening of The Player on Thursday night remind us that Robert Altman’s attitude about Hollywood was always complex and ambivalent.
A stylistic tour de force, Bertrand Bonello’s audacious Nocturama captures the alluring emptiness of modernity with extreme realism and clever experimental flourishes. Jason Fuhrman shares his response to the Wisconsin Film Festival screening.
Jason Fuhrman reviews the Academy Award winning The Salesman ahead of its return at the inaugural Wisconsin Iranian Film Festival this weekend. A seamless blend of cinema and the theater, Asghar Farhadi’s complex, enigmatic and multi-layered drama intimately examines the fissures in a middle-class marriage about to collapse.
Jason Fuhrman shares his notes on Maria (and Everybody Else) and The Donor, two films screened during the opening weekend of the 2017 Wisconsin Film Festival.
A deadpan black comedy about the class struggle, Lukas Valenta Rinner’s A Decent Woman meticulously exposes the structural violence inherent in contemporary Argentinean society, but finally falls short of its subversive potential. Jason Fuhrman reviews the film to continue our 10-day Wisconsin Film Festival preview.
While far from a radical gesture, Andrzej Wajda’s Afterimage lingers in the mind as a vivid, somber portrait of a defiant artist systematically crushed by the machinery of Soviet oppression. Jason Fuhrman continues our 10-day Wisconsin Film Festival preview with his review.