Animula Vagula Blandula: (Un)Masking Clerici in The Conformist

Clerici emerges from behind a wall of grey curtains.

|Chris Ryba-Tures| “To wear a mask is to literally put on a second face, a second identity—a theatrical identity removed from the everyday world.” –Lesley K. Ferris, Masks: Faces of Culture. Little soul, little wanderer, peeking out / from my body’s cover, host and lodger / which now change… Continue reading

The Conformist: Finding Purpose in a Fascist State

In the bottom left corner, a man in a suit carries a bouquet of yellow flowers. He is walking past a large brick wall with words in Latin carved on it.

|Eli Holm| Suspended in anticipation, a man named Clerici sits awaiting his cue, a pawn of a larger game, too terrified to sleep, waiting to strike. He’s in a blank slate of ruin, without discernible emotion, putting on his mask of high-class clothing, tucking his gun, braving the winter air, ready.. Continue reading

Some disorganized thoughts about poliziotteschi films from the Trylon programmer

Original promotional illustration for "Confessions of a Police Captain" featuring three duplicated images of a man shooting a machine gun next to a larger image of a mustached man.

|John Moret| Generally speaking, I love crime cinema in nearly all its forms. The French Connection (1971), Massacre Gun (1967), The Glass Key (1942), Le Cercle Rouge (1970), Columbo (1971-2003)—pretty much any decade, from any country, you can find genuinely great films… Continue reading

Investigation of a Citizen Above Suspicion: An Allegory of Decadence

A black-and-white photo of a man in a suit, arms crossed, standing in a room in which large handprints can be seen on sheets hanging from the ceiling.

|Yuval Klein| The Italian neorealism era of 1940s cinema conveyed social frustration and stories of the working class through realism and minimal-ism. In the decades after, the face of Italian cinema  would gain many dimensions and features that grew upon yet deviated from the standard. Continue reading