Browse by author: Daniel Garrett
Geopolitics meet sexual politics in Walk on Water
Each of us is human and has value, but we are not equally valuable—our resources (knowledge, skills, talents, and monies), and relationships to others, determine the extent of our value. Sometimes we feel inferior because we are. The work of people such as Plato and Shakespeare is not important because they are Greek or English but because of how they illuminate the human condition, an illumination not limited by language, national borders, or time.
An analysis of the film's engagement with philosophical discourse in a comedic mode.
There are works that are less important for what they are than for what they inspire us to think about, and one such work is Rodney Evans’s “Brother to Brother”
Films come and come; and do so quickly enough that it’s hard to know if any of them are of much importance—before a decent, public conversation can occur, they’re gone. Films reviewed include: Hero, We Don’t Live Here Anymore, Vanity Fair, Sky Captain and the World of Tomorrow, Motorcycle Diaries, Kilometer Zero, Stage Beauty, Kinsey, Alexander.
A Bleak Heroism of Images: “Woman, Thou Art Loosed” by Michael Schultz and “Moolaade” by Ousmane Sembene.
Review of Maddin's latest film within the broader context of recent Canadian cinema and its reception in the United States.
An in-depth analysis of the representation of men and race across several varied recent films.
A study of two recent art house films (Spring, Summer, Fall, Winter ... and Father and Son) which feature male relationships at their emotional center.
An in-depth analysis at the social and ideological parameters offered by Lars von Trier's fascinating piece of Brechtian cinema.
I recently traveled to Australia, Japan, England, the Galapagos, and France without leaving New York—through modern magic, film...
In this essay Garrett asks of himself: “What is a minor work of art, and what a major one? How do the perceptions about the social value of characters in film translate into one’s estimation of a film’s importance?” These are questions that occur when Garrett views two films focusing on Native Americans, Randy Redroad’s Haircuts Hurt and Norma Bailey’s Cowboys and Indians: The J.J. Harper Story, and then sees Denys Arcand’s The Barbarian Invasions.
Writer Daniel Garrett collectively analyzes a group of films released in Autumn 2003 in which we can see a “broadening of male sensibility”.
Garrett paints a loving portrait of Diana Ross as an American artist who has been both essential and inspirational for the better part of five decades.