In his Cinesthesia program notes, Jason Fuhrman traces the evolution of Stanley Kubrick’s 2001: A Space Odyssey from a nascent speculation on humanity’s role in the cosmos to a monumental work of cinematic poetry that permanently altered movies and our collective imaginations. […]
In The Day After, South Korean auteur Hong Sang-soo employs stylish monochromatic photography and an intoxicating variety of artful techniques to tell a self-reflexive, modern moral tale with shades of gray. […]
In Beauty and the Dogs, Tunisian director Kaouther Ben Hania employs innovative cinematic techniques to tell a vital and uncompromising tale of female empowerment, but an overall lack of subtlety detracts from the bite of her film. […]
Jason Furhman kicks off the Madison Film Forum tradition of breaking down the “Big Three” categories at the 2018 Wisconsin Film Festival. This year, Jason focuses on the particularly strong contingent of international films made by female directors. […]
In his Cinesthesia program notes, Jason Fuhrman explains how If….,Lindsay Anderson’s controversial and surreal portrait of boarding school life, overcame many obstacles to reach British screens and became an essential film of the 1960s. […]
In his Cinesthesia program notes, Jason Fuhrman explains how Robert Altman took the tragic tale of a stubborn gambler and a feisty madam and reinvented the modern western with his 1971 classic, McCabe and Mrs. Miller. […]
Attend: Program Notes Magnolia | Paul Thomas Anderson | US | 1999 | 188 minutes Cinesthesia, Madison Public Library Central Branch, Thursday, January 4, 5:30pm» In his Cinesthesia program notes, Jason Fuhrman suggests that the […]
In his Cinesthesia program notes, Jason Fuhrman suggests that Alfonso Cuarón’s dystopian thriller Children of Men has become even more relevant ten years after its release. […]
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. […]
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