Posted in: by Bruce Reid, by Kathleen Murphy, by Richard T. Jameson, by Robert Horton, Contributors, Framing Pictures

Video: Framing Pictures for August 2017

Film critics and Seattle film mavens Robert Horton, Richard T. Jameson, Kathleen Murphy and Bruce Reid dive into two new films: Christopher Nolan’s Dunkirk and Kathryn Bigelow’s Detroit. Then, Jeanne Moreau’s recent passing sparks a conversation about the love of film, the love of talking about film, and why cinema captivates us.

You can also watch it on the Seattle Channel website.

Keep up with the discussion at the Framing Pictures Facebook page.

Posted in: by Robert Horton, Contributors, Film Reviews

Review: Dunkirk

Christopher Nolan’s Dunkirk is, undeniably, about the famed World War II evacuation. But it’s also very much about how Nolan makes movies, and how he wants us to watch them. Like other adventurous projects such as Memento and Inception, his new film is a weirdly structured but tantalizing jigsaw puzzle, its pieces assembled with the ingenuity of a maniacally complicated cuckoo clock. It’s not enough for Nolan that his three storylines unfold side by side—they must track along different time frames, too. The movie is like D.W. Griffith’s Intolerance, but focused on a single military event with characters who eventually overlap.

In 1940, Dunkirk was both a humiliating defeat for the Allied forces—the German army having routed the British and French to the sea—and an unlikely morale boost. The hundreds of thousands of soldiers stranded on the beach relied on a withdrawal “navy” partly made of countless small boats and ferries, many piloted by brave civilians crossing the English Channel. The story became the very model of victory snatched from the jaws of defeat.

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