
Biography of the ideas and teachings of Marcel Mauss, considered the founder of Anthropology who lived and wrote in the first half of the 20th century, in France. His work is discussed through the testimony of three students, carried out in Paris between 1997 and 1999. Denise Paulme died 4 months after the interview, Germaine Diertelen died 9 months later and Germaine Tillion, aged 95 in 2002, still works. The three were part of the first generation of French anthropologists, formed in the 1930s.
We can criticize depictions from old media, but they weren’t simply “good for their time”. They were fighting and struggling in a world we can’t imagine.
Two Summers ago, on May 27th, 2022, the theatrical cinematic realms were re-awakened from their post-COVID dormant state of being by a little film titled "Top Gun: Maverick". It re-introduced us to the absolute elation of seeing not only a highly anticipated (and, granted, 36 years in the making!) sequel, but the return of the quintessential Summer blockbuster to witness on the BIG screen again.
Him is visually stunning—all concrete cathedrals and bone-rattling impact shots that look like a nightmare highlight reel. Marlon Wayans is magnetic as this legendary quarterback who's basically selling salvation with a smile that never quite reaches his eyes. But the story keeps running in circles: more tests, more cryptic pep talks, more ritualistic drills. The sports-as-religion metaphor beats you over the head when subtlety would've been more effective. The middle drags, and that finale chooses spectacle over substance. It's undeniably stylish, but left me cold. Also worth noting: despite the Monkeypaw connection, this isn't actually a Jordan Peele film—he didn't write or direct.
At least we got the original cast back, right? Not even that saves it. None of them could bring a sliver of hope to this special. Rather, they bring dread as we witness the light leaving from their eyes.
'Ganja & Hess' is a 1973 experimental horror film, written and directed by the visionary auteur Bill Gunn. It was meant to be a straightforward blaxploitation film – but director Gunn had grander ambitions.