Tuesday, 12 February 2019

Article: The Pursuit of Pennies




*Spoilers are about.


The final shot of Steven Soderbergh’s The Girlfriend Experience (2009) floored me upon a recent rewatch. After spending just over an hour of it’s economical running time, observing the lifestyle of Christine; a high-end escort and her relationship with different clients as well as her boyfriend Chris, the film’s essence is boiled down to its purest moment in the film’s closing sequence.

The scene itself seems pretty innocuous. Christine (then real-time Porn Star Sasha Grey) is invited into the backroom of a Jewish Jewellers by the owner whom we identify as a client for the services that Christine provides. They talk briefly about the upcoming election, in which the client recommends Christine (or Chelsea if we go by her escort name) should vote for John McCain over Barack Obama. He dominates the conversation, she merely responds in rather basic platitudes. As they talk, they undress unceremoniously. For a film with a porn star as the lead, it only really displays Grey in any real sexual fashion briefly, although many conversations in the film highlight her attractiveness. Framed in mid-shot which captures two-thirds of Grey body in full but is set at a distance which halts the observation of her body as gratuitous or titillating, she walks towards her client, a heavy-set man and they embrace. He begins to sob.

Soderbergh’s movies often involve how people operate for the pursuit of money, yet what I found so striking with The Girlfriend Experience is how the film deals with the element of control the chase. Throughout the film, we’re supplied with a plethora of talk about the economy. It all comes from Men. Nearly every man within the film is telling Christine what she should do with her job. From how she should approach men, to trying to find out how she keeps her accounts. They all want a piece of her. They pull of ruses to try and pay less for her services or “get to know the real her”. Despite the boundaries which are set in place by people within the film, everyone is looking to break them. However, it’s in this small moment in which we realise that all the bluster and bravado. All the posturing. It all comes down to that base wish of getting an attractive woman to need you. An urge so powerful it can make a grown man weep.

One of Soderbergh’s more experimental affairs, The Girlfriend Experience came out to middling reviews, with much of the focus being fixed on Sasha Grey’s “coming out” to the mainstream. The choice of Grey here is a masterstroke from Soderbergh. Her flat portrayal of Christine is deceptive. It suggests a bad performance. However, in my eyes, having seen Grey in some of her pornography, as well as her rather limp performances in Entourage, her near unemotive turn here is a clear decision between actress and director for a character who is purposely not letting anyone into what she really feels. If the film had been given to another actress, there’s every chance that they could have overegged their performance, letting the audience know exactly what they’re thinking. Grey’s face, which at one point is covered by huge sunglasses as to hide her eyes, feels like a mirror, reflecting the emotions given by those around her.

The film seems to go on around Christine and to me, this seems to be the point. We jump from conversation to conversation which ranges from how the economic climate will affect her work, to gross clients trying to obtain freebies from her to guarantee good reviews. However, despite whatever’s being said, everything boils down to that final moment. She has what they want. Payment is negotiable, but there will still be paying. What’s fascinating is just how well Soderbergh has transferred some of the clear issues we are now seeing in the gig economy. Looking into my other hobby of Portrait and model photography, it’s more than a little concerning how it would only take a small amount of script tinkering to have it apply to the amateur photographer scene, and yes, I do mean some of the more dubious elements too.

After the release of the film, directors Lodge Kerrigan and Amy Seimetz took the material and turned the source material into a TV show, with new characters and storylines. The Girlfriend Experience TV series is far less of an experimental slice of life endeavour that Soderbergh devised and is a more familiar and explicit affair. Gone is the semi-provisional feel, and what we’re given instead is a political espionage show with a variety of different, difficult female leads which sometimes holds more in common with the erotic thriller genre than the more ponderous take of Soderbergh. 

In any case, what I found most intriguing about The Girlfriend Experience is how both the show and the film are invested in delivering agency to female characters who are hard to catalogue into simple terms. My favourite visual on the film comes around about halfway through when Christine, positioned centre framed, sitting on the edge of a hotel bed, is getting her feet massaged by a client; David, who is so low down in the shot he is almost out of it. It’s a moment which, despite some of the things which are about to occur, subtly hints at the metaphor which takes place in the aforementioned finale. The dynamics shift throughout the film, but it is within these moments that we gain a glimpse at what’s going on. Where the agency is. Why men write bad reviews of Christine when they don’t get their way and why they are sometimes so despondent when she gives them a chance to touch her. If the economy tanks, then there’s less money to go around. Less to brag about. Less to impress with. You can’t impress Christine if you can’t pay her. Maybe that’s why they cry.




Monday, 11 February 2019

Article: The Lonely Death of Dick Hallorann





Of Course Spoilers


The death of Scatman Crothers’ character Dick Hallorann in Stanley Kubrick’s seminal film adaptation of The Shining (1980) is possibly one of the most isolated deaths in mainstream horror cinema. He travels through brutal, treacherous terrain to heed the telepathic beckoned call of a terrified young boy. He never makes it. Moments after he reaches his destination, he is felled by a swinging axe to the chest. His demise is swift, violent and above all else, it’s near pointless. In other horror films, ones not made by obsessive, precise auteurs, such a death is often considered laughable. The most notable parody of The Shining lies in The Simpson’s Treehouse of Horror V (1994), in which Groundskeeper Willy is murdered by an insane Homer Simpson in a similar style to what occurs in the film. Hallorann’s death can easily be mocked. For myself, this is perhaps part of the sadness. This is a character whom we see near the start of the movie delivering a careful exposition of ‘The Shining’ to a fretful young scallywag in a poorly disguised Chekhov’s gun only to have the bullet skew wildly when it is fired. Danny Torrance (Danny Lloyd), the telepathic child, who uses his ‘shine’ to summon the wilful wannabe hero is only left with mental scars as his deranged father Jack Torrance (Jack Nicolson) drives an emergency axe through the elderly man’s chest mere moments after arriving back to his place of work, in a desperate attempt to save the child and his mother from the evil which has taken over the mind and body of Jack.

Dick Hallorann’s death is a tragedy in The Shining that feels easily forgotten and ignored, due to the grander context. Hallorann himself is only in a few scenes. In the beginning, he establishes himself as a person of trust. His final moments are devastating because the film invests so much time of his travelling to his final destination. When you isolate Hallorann’s time in the film, half of his scenes are spent with him navigating his way back to the snowbound overlook hotel. He travels by plane. He drives during the final third of his journey. We’re still aware of how long it took Jack Torrance to get to The Overlook and that was without the poor weather conditions which blight Dick. A few moments after Hallorann arrives, Jack swings an axe cruelly into Dick’s chest. The struggle is brief, the wound is severe and Hallorann’s heroic gesture, in which he came to aid Danny and Wendy, is quickly snuffed Out.

It’s easy to giggle at the futile effort. The film seems to set up a greater confrontation involving Hallorann and Torrance. His earlier, expositional scenes suggest that his knowledge of ‘The Shining’: a telepathic link between people, will become key. It is said shining that Danny uses to send out an SOS call to Hallorann. This gift is powerful enough to give Danny an aspect of foresight. He witnesses excruciating scenes of terror through this clairvoyant link. Elevators filled with blood. Dead bodies of the past strewn on the floor. However, the events which cause his dad to run riot and have Danny scarper as far as his legs can carry him, also ensure that the failed heroism by Hallorann is in vain.

It’s a difficult death even despite its futility. In both Stanley Kubrick’s film and Stephen Kings novel, the attack dutifully notes Hallorann’s race. Before the attack, Jack is advised by a spiteful spirit; Delbert Grady that a “nigger cook” is on his way to complicate the matter of Jack correcting his Wife; Wendy (Shelley Duvall) and their talented son. The performance by Phillip Stone as Grady has always been memorable to me due to the venom of the exchange which takes place in the men’s bathroom with Nickleson’s Jack. It’s here where the severity of Hallorann’s demise hits home, practically for me as it’s in this moment that becomes one of the first moments of explicit racism in a movie that I’ve witnessed. People often get frustrated with film adaptations as they place a face to a character that they find hard for their imaginations to shake off. Stone’s face and aggression have always been etched into my mind from a young age. But conversation which takes place also compounds an illicit agreement between two white men, to kill the film’s only truly likable character.

In the film Room 237 (2012); a highly subjective documentary showcasing how the film is viewed by various analysts, one theory establishes that the overt references in The Shining make the film about the genocide of Native Americans and American imperialism, with one of the film’s main highlights being that of an opening sequence involving hotel manager Stuart Ullman (Barry Nelson) mentioning that the Overlook Hotel is built on an ancient Indian burial ground. This becomes a challenging factor when we consider the films mysterious ending in Jack, the man who has “always been the caretaker” is seen in the last frame of the film captured in a picture which dates back to the 1920s. Hallorann, the only person of colour within the film, may not be native American, but the theory of his killing is perhaps due to the hands of a white man who may be possessed by spirits of America’s well known racist past make an impactful indictment of Torrance’s foul dismissal of the kindly African-American who treated his son to some ice cream. It’s possible to consider The Shining as a film which conspires to kill the film’s most solitary character, it’s only black character, through insidious white collusion.

Hallorann’s death conjures even more provocative elements when we consider his place within the film. His early exposition, as well as his psychic talent, could easily consider him the fabled “magical negro”. The sexless black stereotype whose role is to give the white protagonists value through his magical abilities. This is a cook whose purpose is to serve the rich white folk who come to indulge in the overlook, while his sole motivation in the film is to come to the aid of Danny, which he fails. When Hallorann receives the call from Danny, consider the mise en scene surrounding him. Framed pictures of young, naked ebony women are hung around his walls, but there’s very little about Hallorann himself to suggest that he’s a sexual person. In watching the film again, this scene is most indicative of the loneliness of Hallorann. Having explained the Shining ability to Danny, this seemingly asexual man, now surrounded by sensual imagery, has his sole purpose by this point in the film to be marked for death. To be killed by a man whose cavorting with naked bathtub spirits allows him to be possessed. Yes, we know that the woman who seduces Jack in room 237 turns out to be a rotting corpse ghoul, but still…

Hallorann is unceremoniously dispatched by Jack after hours of travel to reach his destination point. His body is not found by Danny, the boy he strived to save, but Wendy who’s bulging eyes cannot comprehend what she is seeing. Considering that what she’s seen only a few moments before have already been difficult to logically compartmentalise. It is Wendy who sees the elevator of blood in (her) reality over Danny’s vision. She finds bloodied guests laundering about the halls when it is only supposed to be her family inhabiting the hotel. But it’s the short sharp crash zoom to Hallorann’s body which has her really lose her proverbial poop.

Duvall’s Wendy has really taken a battering from detractors of the film over the years as for the most part she is nothing but a shrinking violet, yet it is through her face as well as Danny’s in which we see much of the film’s terror. Duvall has such an unconventional movie star features and it’s no surprise that Altman used her in tandem with Sissy Spacek for the evocative 1977 film 3 Women. Spacek who featured in Carrie another adaptation of Stephen King also holds the same characteristic that makes Duvall stand out. Those large eyes. They see all.

I bring this up because it’s her face, those eyes that water with fear when Wendy finally sees apparitions. She is also the only person who sees Hallorann’s lifeless corpse lying in the reception area. It is one of the last sights she sees in the hotel itself. By the time she sees it, she’s witnessed so many bizarre supernatural phenomena that she may not believe that the body is real. That’s the sadness. The last person to see Hallorann on the day of his death may be too wigged out to even believe he’s there. Struck apart by race, sex and sheer distance. Dick’s body may have been considered as much as an apparition as the ghostly guests waltzing the hallways. He dies by himself in the hotel’s reception. What a lonely way to go.








Tuesday, 29 January 2019

Article: She’s Lost Control – Some words on A Teacher (2013)




Hannah Fidell’s debut movie A Teacher is short on running time but high on anxiety. It feels like pouring scalding water into a small cup over someone head while they are bound. Filling the container to the brim with the subject wincing in the knowledge that the cup at any time could spill or overflow. Drops of the liquid sting the person’s head, as they await with dread the moment that the pourer will twist their waist. Someone is going to get hurt.

That someone is Diana Watts (Lindsay Burdge). The film starts innocuously with a small glimpse of her basic routine. Jogging. Driving to work. Finally, we land at her job. She teaches English to High Schoolers. One student; Eric Tull (Will Brittain), asks for a book. It is handed to him with no incident. You feel that Diane’s face flickers slightly after the ask. If only for a second. Later that evening, the two meet up again. Eric walks with a swagger into Diane’s car. They have sex. We now understand that flicker.

The story is familiar. There’s been films and novels involving Ephebophilia since time memorial. Alissa Nutting’s debut novel; Tampa (2012) treads in similar ground, while Josh Radnor, of How I Met Your Mother fame, wading into the pool with his second film Liberal Arts (2013). But A Teacher refrains from toppling into the fully amoral quandary of Tampa, nor does it hedge self-satisfied bets like Radnor’s feature. Fidell’s film follows a more plausible outcome not too dissimilar to the likes of Kristen Roupenian’s popular short story Cat Person (2017), where characters are left isolated and fractured due to the dynamics at play.

A Teacher lacks the seductive temptress who inhabits a novel like Tampa. Nutting’s main character isn’t just deliciously sinful but is almost a model by description, designed almost exclusively to lure in the male gaze. It’s no surprise that Tampa’s lead could easily entice in an impressionable teen. Diana as a character is neatly framed as the type of young, approachable woman that you wouldn’t be surprised to walk down a school hall.

This is within the build of the character in which the film finds of its small areas of complexity. Diana is young and pretty but is not set up as the vampy predator, dressed to turn the heads of horny young boys as well as pervy parents or snooty work colleagues. Nor does she hold the type of personality that draws attention to herself. Her colleagues are mildly shocked that she has a brother; Hunter (Jonny Mars). We don’t know the timespan of Diana relationship with Eric, but it’s long enough to see that it’s carnal, comfortable and kept away from her roommate, whom she is relatively close to. Fidell layers more complication to proceedings in small doses. In a singular scene involving her brother, he refers to their mother who is suffering from an undisclosed mental illness. When Hunter mentions his concern for Diane, the conversation is shut down. There’s enough ambiguity to suggest not only an ailing parent but possible past conflict. The most poignant conversation Diana holds with Eric has her reference secretly having sex with her high school boyfriend unbeknown to her mother, again alluding to a vague possibility of trauma. Fidell drops breadcrumbs within the story but never sets down a full trail, allowing a viewer to question the reasonings of the behaviour.

Diana is framed by Fidell as an archipelago through the film. Isolating her from characters with simple blocking or surrounding her with large amounts of negative space. The one hobby we see Diana have is running, and she is shown performing this solitary hobby throughout the film. One of the more telling moments has Diana wandering amongst the wilderness of a ranch, which Eric’s father owns, the changes from a panning close-up to static as she grows smaller within the frame. Early on her roommate introduces her to two shlubby men more suited to her age. “You’re the teacher that every little kid wanted to bang” one states. It’s an amusing wink to the situation, but it also highlights the arrested development which seems rampant within the narrative. There’s no surprise that Diana is looking elsewhere to date when her so-called suitors are working on websites called LOLpoorpeople.com, yet by embarking on the relationship which appears doomed from the outset with a teenager, Diana shows her own irresponsibility, again leaving her adrift and isolated.
Whereas Josh Radnor’s Liberal Arts does little particularly interesting with the hot for teacher narrative, Fidell takes the things to haunting, plausible places. One feels that she’s able to by simply making the switch of gender. Fiction is littered with older males having a younger woman as a springboard to “finding himself”. I’m hard on Radnor’s liberal arts because it’s so soft on itself. Vaguely charming at times it’s a film that smugly allows its character to waltz into this young girl’s life, have a little bit of a fling but walk away with everyone “grown”. Fidell’s film is far more interested in muddying the waters with the power dynamics.

Diana, the person who should be seen as the moral compass, stumbles into a grease pit of fixation based around her impulsiveness. Eric not only as a jock with boyish charm but as a relatively sensible teenager who just happens to have the coding of the type of adolescent sweetheart that you could see girls reminiscing about after their school days end. Fidell frames Eric in dreamy white vignettes when Diana daydreams about him. In one instance she sends him a nude image with no foresight into what doing so may entail. Fidell’s blocking of these characters arrives at its strongest point when a seated Eric instructs Diana framed and confined in a doorway) to strip. Diana; the adult, the teacher is standing above Eric the student, and yet he holds all the power. A reverse play of Jemima Stehil’s strip photo set series in which the power of the sexual dynamics’ rests within Stehil herself despite asking prominent male players in the art world to take pictures of her while she disrobes. There is only one moment in which Eric’s control over Diana is relented, but even by the film's conclusion, it is clear how much is at stake for Diana over him.

It is the adolescent-like behaviour exhibited by Diana, through a deeply committed performance by Lindsay Burdge which makes A Teacher an absorbing watch. In this current age where modern culture writers want to reduce views of gender into 280 characters, Fidell creates a film which poses complicated questions around female desire, while wringing pockets of empathy from places we may not expect. Diana is no simpering wallflower, nor is she a hyper-confident mega bitch. A Teacher is smart in portraying a complicated woman who simply does not have her life on her own terms. Fidell intelligently mines the drama within that.

It’s easy to say that we should be morally against what occurs in the film. That’s easy. What’s interesting here is watching a film which garners an element of compassion over a situation we’ve clearly been told is wrong. But this is a film which is far more interested in emotional investment and portraying mood via camera placement. Due to this, the film’s resolution may come across as unsurprising and abrupt, yet it still says everything it needs to more accurately than a film with double it’s running time. By the end of the film’s mere 75 minutes, we’ve watched the cup spill over. It burns.

A Teacher is Available on Amazon Prime in the UK

Thursday, 20 September 2018

Article: The Marvellous Number Game


The discourse is dead. Long live THE DISCOURSE. Only a day after a rather needless spat allegedly on the idea of film critics and class, we are slapped in the face by the new Captain Marvel trailer and the unbelievably "spicy takes" which come with it. Below is the trailer and the very strange reaction that’s been gained by one person:









Melissa McEwan, editor in chief of Shakesville.com, a progressive feminist blog decided that after counting the amount of dialogue uttered by characters within the trailer, the fact that Samual L Jackson's Nick Fury had more lines than Brie Larson's title character was a clear reason to call shenanigans. Never mind that the trailer is clearly set up in a way to provide the character an air of mystery by one of the characters which helped formed the glue of the Marvel Cinematic Universe.  The sheer fact that a man had more lines than a woman in her own trailer was contemptuous. When the tweet was queried by a fan, their well meaning arguments were dismissed as appalling. Because even though the film may not even have its runtime figured out yet, Marvel must do better because sexism.

To question the methods of populist films is something that pop culture writers should critique and provide insight. Screen time and the vocal representation of gender and minority characters should most definitely be notified. Captain Marvel comes in after the Warner Bros hugely successful Wonder Women and as Marvel Studios’ first female-led superhero feature, it’s a film with very high, very particular expectations.

However, the age of twitter takes, instaopinion and microanalysis has created a platform of dubious, broken narratives that look to derail movies before they even get a chance to be watched. This quick take tweet comes across as one example. I have no doubt that Captain Marvel's movie will have Brie Larson's Carol Danvers character front and centre, yet McEwan hot take is so obnoxious that a person like myself is more switched off by her than an apparent meagre word count. Melissa's fans have highlighted her as a smart and insightful writer, whose writing on feminism is worth reading. However, it only takes one thing to switch someone off. For McEwan, it’s the bizarre idea that Captain Marvel will be about Nick Fury after counting the words to a two-minute trailer. For me, it’s the idea that something so myopic is worth being outraged about. Especially if the writer is unapologetically doubling down. 

At the same time, another Twitter member, whose name isn’t really worth mentioning decided to partake in some dubious trolling purposely designed to “trigger to snowflakes”. The “gag” involved some quick photo editing to change images of non-smiling Larson to display a cheesy grin. The idea? Female heroes should “smile more”. Despite the fact that male heroes are not asked the same thing. 

The problem is, both tweets land themselves in the same wheelhouse. Deliberating about the vocal representation of the main title character in a promotional advertisement designed not only to provide a broad description of the overall movie but to also proposes that we will need to actually see the movie to obtain the full picture, comes across as outrage for the permanently outraged. Good critiquing can be an entertaining as well as a thoughtful process, whereas ignorant hot takes such as these can suck the very joy out of those caught in the vortex. Just because we are progressive does not mean we aren't also ignorant at times. We must also think what chance does a film have if these are the battles we're looking to fight for?

I do not condone the vile insults which flowed from the thread soon after the tweet was sent, but I do find it eye-rollingly irritating to see a progressive feminist writer go down the route more used by the same faceless trolls who would be all too quick to lambast her. We all watch movie trailers. Characters you expect to have larger roles have significantly less to do. Scenes are rearranged and chopped, and in a situation like Captain Marvel, it’s no surprise that a character of the universe who is familiar to the audience would “take centre stage” in order to introduce a character.  

An interesting opinion that came up (that I'm not sure I would ascribe to) is that the thought is yet another example of "white feminism" in which the idea of Jackson’s Nick Fury, despite being a Marvel character with the most number of info-dumps, should be subdued so the pretty white girl should have more lines than the POC character no matter the situation. Once again highlighting the problematic issues that have dogged the current generations debates of Intersectionality and whether people really care about minorities. For the most part, I think most people do.  

Comments such as McEwan’s feels less like a sharp insight and more like snide comments in an out-of-place framework. Chadwick Boseman’s T’Challa has no words in the first Black Panther trailer. Most of which is of two white characters talking about where the character is from as opposed to the character himself. The original spider-man trailer (pulled for its use of the Twin Towers) not only has a wordless Spider-Man but a Spider-Man who doesn’t turn up until late on into it’s very short run time. Due to the nature of the 1989 Batman film, Jack Nickleson has far more play than Michael Keaton. Such examples make McEwan’s comments feel more like the so-called manufactured outrage, that certain groups love to claim progressive indulge in.

As the online culture wars rage on we see more tools and projects which help us engage with the media around us. Methods such as The Bechdel Test as well as Every Single Word Spoken project (which deal with tally lines of dialogue spoke by minorities) for example are particularly helpful with emphasising marginalisation. However, they rightly can come under criticism of being utilised as complete cultural barometers for films. Amusingly, the Captain Marvel trailer is of course great news for black African American’s as Jackson occupies so much of its word count. Of course, these methods of evaluating those who are maligned are effective when used correctly and in the right context. Like within a whole feature for instance. 

Knee-jerk reactions like McEwan’s only muddy waters. Going through the thread, the tweets did nothing to engage any real debate or concern. It did, however, do lots to agitate those with cartoon faced avatars as well as many black and white feminists who seemed pissed that a female writer with a large following is needlessly dumping on Marvel’s first female feature for no other reason than the word count. Speaking of which. This post has gone on way too long. So how about some trailers to finish?   




Tuesday, 18 September 2018

Article: The Perception of Class


 Did you hear what that film critic said about the other? Well, it all started with a cryptic tweet from one Mark Kermode stating:



"That moment when you fall out of love with a film mag about which you once cared passionately. Oh well …"




In the latest issue of Sight and Sound (Oct 2018), Danny Leigh’s article on film criticism and class seemingly alluded to the idea that fellow film writer Kermode's private school education holds a certain aspect of gatekeeping:




The whole thing felt a little odd to me. A misguided pot-shot to some, a benign reference to others. In all honesty, I joked with a film friend that both were joyfully sharing a brandy and a cigar as they did enough to raise Film Twitter's love for gossip and perhaps got another couple of Sight and Sound copies out the door. Although Kermode feelings to the comments and Leigh's self-removal from Twitter state otherwise. 

Strangely, this reminds me of when Gawker broke the news of Hulk Hogan’s sex tape and rampant racism in which the Hulkster mentioned not only his wishes of his daughter to not date certain types of Black men, but also liberal use of the N-word. I remember when this news broke, the social media audience was more bothered at Hogan's use of a racial slur as opposed to his far more disturbing view on interracial relationships. I'm also reminded of the 2014 Sony hack in which then Sony Entertainment Chief Amy Pascal joking remarked on Obama's film tastes being somewhat stereotypical. While the information leaked was founded on dubious grounds, it displayed the problematic relationship between ideas of race and film production. This was not conversed about in The Discourse, because this was criminal gossip which shouldn't be looked into in any way or form. Although now we don't mind discussing pee tapes


The mucky discussions that should really be discussed are dismissed for something more palatable. The same thing will happen here. The more important aspects of Leigh's commentary will be overshadowed via a smaller, less important area of discussion. There are no winners here. The comments made will now be viewed by some as a grudge on a film writer who is currently the most prominent national voice on cinema. While another film writer will disappear from social media at a time we actually need folk to discuss cinema in a boarder sense. Something Leigh was happy to do. A shame. In the brief conversations I've had in the past with both writers, the most important element that came across from both of them was their passion for cinema. 

A couple of sentences between two prominent white film writers is simply not as important as the talk of class. We’re still in a labouring world in which London based critics and film writers chirp over "essential" screenings that they can see due being able to afford an array of rep cinemas that they can just fall into. Working class actors are disappearing. Films which highlight the varied range of cultural landscapes flitter on by due to poor distribution and yet we see have more to say about twitter beef. This ain’t Sarris vs Kael. This isn’t even White vs Baumbach and yet we are invested. The issue that lingers is that there IS a class concern that remains in film criticism like a repugnant stench. However, the concern is being masked by folk grinning and nodding in acknowledgment to MUBI’s smug advertising campaign or doubling down on their recent tweets about the state of Cinema culture, so much of which safely ignore any real insights on socio-political areas. The online film community can often give off an ivory tower demeanour about itself. All it takes is a glance at the right message boards or tweet threads to see it. There is a problem with how class, as well as race and gender,  is viewed in criticism. It goes far beyond the two writers mentioned in this piece. The fact that we will again ignore it is pretty classless.