links: 'I used to say my camera is my miraculous weapon.'
Rounding up some of the best film writing from the week.
As Facebook and its founder and CEO, Mark Zuckerberg, continue to draw controversy over their platform being used to spread violent rhetoric and misinformation, Alison Willmore writes about how relevant The Social Network feels in 2020.
Remember when Adam Driver sang that old-sounding musical number in Marriage Story? That song was from a musical called Company, a cult Stephen Sondheim musical with a cult documentary on the recording of the album. Vox’s Aja Romano enthusiastically recommends watching it on the Criterion Channel.
Jake Kring-Schreifels revisits Bourne Identity for The Ringer, specifically looking at how they made the quiet, tender “haircut scene” in the middle of a full-throttled spy thriller.
Guy Lodge over at the Guardian argues that the 2021 Oscars shifting the awards later favors the old guard (read: old white voters).
Vulture’s Hunter Harris interviews Euzhan Palcy, one of the only Black female filmmakers in the 1980s, about the fight to make A Dry White Season, about toppling a corrupt police state.
Julian Kimble provides an incredibly in-depth look at Spike Lee’s new joint, Da 5 Blood, for The Ringer.
