Midnight Family starts with a bang, though visually you wouldn’t know it, as it’s presented as a simple white text on a black background. It’s the simple, unadorned but utterly horrific statement that Mexico City has 45 official ambulances to serve a city of 9 million people. Think about it: that is one ambulance per 200’000 individuals. This figure frames everything that follows, it provides an explanation and context, and it tells the audience from the beginning what we’re in for: a visit to a world that has gone deeply, badly wrong.Continue reading
Each Friday we travel back in time, one year at a time, for a look at some of the cultural goodies that may appear closer than they really are in The Rear-View Mirror. Join us on our weekly journey into the past!
Jules et Jim (1962) wasn’t my first film by François Truffaut, but it might as well have been: while I saw The Last Metro (1980) earlier, it didn’t fully register that this was a film directed by Truffaut, one of the founders of the French nouvelle vague, and I only remembered The Wild Child (1970) very, well, vaguely. In fact, I was more aware of Truffaut in Spielberg’s Close Encounters of the Third Kind (1977).Continue reading