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Uncompromising masterwork? Historically poor use of 150 million dollars with a direct-to-Tubi aesthetic? Or somewhere in between? Screen Slate's Jon Dieringer and Filmmaker Magazine's Vadim Rizov attended the first Cannes screening and sat down to discuss their impressions of this sui generis late-late-style work.
The Screen Slate Podcast is supported by its Patreon members. Sign up and get access to bonus episodes, our lockdown-era streaming series archives, discounts from partners like Criterion and Posteritati, event invitations, and more.
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Manage episode 418623330 series 3303733
Content provided by Screen Slate. All podcast content including episodes, graphics, and podcast descriptions are uploaded and provided directly by Screen Slate or their podcast platform partner. If you believe someone is using your copyrighted work without your permission, you can follow the process outlined here https://player.fm/legal.
Uncompromising masterwork? Historically poor use of 150 million dollars with a direct-to-Tubi aesthetic? Or somewhere in between? Screen Slate's Jon Dieringer and Filmmaker Magazine's Vadim Rizov attended the first Cannes screening and sat down to discuss their impressions of this sui generis late-late-style work.
The Screen Slate Podcast is supported by its Patreon members. Sign up and get access to bonus episodes, our lockdown-era streaming series archives, discounts from partners like Criterion and Posteritati, event invitations, and more.
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In the 1980s, there were only 63 Black films by, for, or about Black Americans. But in the 1990s, that number quadrupled, with 220 Black films making their way to cinema screens nationwide. What sparked this “Black New Wave?” Who blazed this path for contemporaries like Ava DuVernay, Kasi Lemmons and Jordan Peele? And how did these films transform American culture as a whole? Presenting The Class of 1989, a new limited-run series from pop culture critics Len Webb and Vincent Williams, hosts ...
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continue reading
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