For such an icon, Scorsese is fairly tricky to pin down. What threads, if any, connect his various, distinctive films? Is he more fascinating a director because of commonalities between his films or divergences?
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Female experience is a fraught and contradictory thing in Alice, established within a matrix of domestic responsibilities, culturally influenced fantasies, and conflicting social expectations regarding the proper relationship between a woman’s desires and duties.
In its almost bratty simplicity it shows up so many contemporary nonfiction films, which often seem to exist only to document the exemplary or the culturally notable, and in their slavish obsession with their subjects’ import end up squelching the kind of resonance that Italianamerican casually exudes.
All these years later we’re still thinking about A.I. and how the film manages to engender so much human empathy while remaining an essentially cold, remote work largely told from the point of view of robots.
Knocking, filmed on weekends over the course of three years and subject to reshoots and name changes throughout, was conceived as the beginning of a never-completed trilogy about Scorsese’s coming of age in Little Italy.
How is it that Ramon Zürcher’s beguiling, curious, deceptively slight first feature, The Strange Little Cat, seems to take place over the course of one family’s mundane afternoon, and at the same time in every possible moment in this family’s history?