Willem Dafoe And Charlotte Rampling Star In Movie For One Viewer At A Time

Sculpt [is] a $1.5m feature film by the 38-year-old French artist Loris Gréaud. It will be shown at LACMA’s Bing Theater, an auditorium that normally seats 600 people, but with an almighty caveat: Gréaud has requested that all of the seats be removed except for one, which will sit in the centre of the space, forlorn and exposed.” (Rampling, by the way, plays Grumpy Bear.)

A Video Game For When You’ve Had It With ‘SimCity’: A Dystopian Business Simulator

“In The Founder, there is one goal, and that’s to grow your startup and please those investors until there’s nothing left to give. Along the way, you appease preferably low-payed [sic] employees with perks like office kegs and butter coffee, join the lucrative industries of biotech or defense, and run your competition into the ground with sponsored music festivals and ’causewashing campaigns.'”

How ‘Grey Gardens’ Transformed Documentaries

“Grey Gardens made quite a splash on its initial release, and not always in a good way. The Maysles were accused of exploiting their subjects and betraying the tenets of the ‘direct-cinema’ movement to which they were deemed to belong, principally by dint of their 1969 masterpiece Salesman, perhaps the pinnacle of the genre.”

Serial Drama Made The Age Of Peak TV; Why Is The Genre Running Out Of Steam Now?

Matt Zoller Seitz: “Every revolution has casualties. In this one, it’s the hour-long, serialized drama that unveils its story over multiple seasons, and that fueled the so-called Golden Age of serious-minded, scripted TV; a form that, until recently, moved the needle on TV as an art form and dominated the cultural conversation. When discussing the serial drama in 2016, you can feel a sense of fatigue settling in.

Hollywood (And Jared Leto) Have Ruined Method Acting

“Leto’s stories [of his behavior on the Suicide Squad set] show how going to great lengths to inhabit a character is now as much a marketing tool as it is an actual technique – one used to lend an air of legitimacy, verisimilitude, and importance to a performance no matter its quality. Leto’s Joker is the latest evidence that the prestige of method acting has dimmed – thanks to the technique’s overuse by those seeking award-season glory or a reputation boost, as well as its history of being shaped by destructive ideas of masculinity.”