One of the reasons that film noir has persisted in the cultural massmind is because films noir are so often epistemological. Questions of "who am I?" or "what really happened" or even "what is real?" or "what is identity?" litter films like Somewhere in the Night and No Man of Her Own and Dark Passage and Hollow Triumph. As film noir became self-aware in the late 1950s and onward, this tendency has intensified. Contemporary film noir is as apt to be a mind fuck as it is to be a suspense thriller or a crime story. That's certainly the case with Phoenix (2015, directed by Christian Petzold), a film in which identity is shifty and endlessly mutable.
Monday, October 12, 2015
Sunday, October 11, 2015
I'm not "officially" doing The October Horror Movie Challenge this year. I'm not aiming to watch all the films and I'm definitely not going to break my back to blog about it all, but it's still October, and October still means horror movies here at Stately Krell Laboratories. Therefore...