AMONGST THE PLEASURES THE PANDEMIC CLAIMED, GOING TO THE MOVIES WAS HIGH ON THE LIST. 2020 was the year that many said cinema with a little ‘c’, the cinema of the small budget film, was finished. By the end of last year, the second-largest U.S. cinema chain, Regal, had declared bankruptcy and the largest, AMC, had vowed on a quarterly investor call to fight to the death. In a doomy trifecta, Sean Connery passed away, the latest Bond release, No Time to Die, was rescheduled for the third time due to Covid and last month Amazon announced that it was buying MGM Studios, 007’s longtime home. Warner Bros. did the unthinkable by releasing its much-awaited Wonder Woman sequel on the HBO Max streaming service concurrently with cinemas, because people weren’t leaving their homes. This was just a prelude to Warner’s decision to stream their entire 2021 film slate. The much-revered theatrical window, that sliver of time when you can only see a movie in theaters, the thing which used to make a movie a movie, had collapsed. Those of us lucky enough to have them, turned instead to screens on our walls or in our palms. If the landscape was changing for cinematic franchises, that bring in billions by spawning video games, figurines and Halloween costumes on top of on-screen thrills, the prognosticators foresaw little hope for the Indie.
この記事は RollingStone India の July 2021 版に掲載されています。
7 日間の Magzter GOLD 無料トライアルを開始して、何千もの厳選されたプレミアム ストーリー、9,000 以上の雑誌や新聞にアクセスしてください。
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この記事は RollingStone India の July 2021 版に掲載されています。
7 日間の Magzter GOLD 無料トライアルを開始して、何千もの厳選されたプレミアム ストーリー、9,000 以上の雑誌や新聞にアクセスしてください。
すでに購読者です? サインイン
DANCE-FLOOR BLISS AND THE SEARCH FOR (POST-) HUMAN CONNECTION
Over the course of roughly a decade, CARIBOU, the electronic-leaning project from Canadian musician and composer Dan Snaith, has released intricate, sonically inventive records that cradle rhythm and history. On \"Home,\" from 2020's Suddenly, he coos softly alongside a frenetic flip of Gloria Barnes' 1971 single of the same name. There, the subtle cracks and gestures in his voice manage to breathe life into the digitally-manipulated sample. Caribou's music has so far thrived on this quality — Snaith's seemingly boundless musical curiosity and his ability to crystalize big ideas into euphoric moments of dance-floor bliss. It's why his choice to use artificial intelligence on his vocals for his latest album, Honey, feels like a misstep. Here, Snaith's voice is transformed in character and identity, at times creating revelatory moments, like on \"Come Find Me,\" where he's reimagined as a treacly-toned young woman, though in small enough doses for it to work. Elsewhere, like on the rap-adjacent \"Campfire,\" where Snaith renders himself as the sort of rapper you might hear on a Caribou track (think Definitive Jux vibes), the concept breaks down.
Get Closer: The Intimate Gaze of Films at NYFF62
A second intimacy arises between our lives and those unfolding on screen... and in setting their sights on exploring ordinary lives at close range, filmmakers at this year's New York Film Festival deepened that intimacy to great effect
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INDIA'S HIP HOP MOVEMENT GAINS MOMENTUM
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TINASHE 'I'VE BEEN IN THE GAME 10 YEARS.I'M NOT NEW TO THIS.I'M TRUE TO THIS'
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