Shot in 2004 but shelved after its subject deemed it too personal, Leaving Home, Coming Home: A Portrait of Robert Frank follows the photographer as he retraces the locations of some of his photos, offering a rumination on New York City’s gentrification as well as the peace that Frank found when he moved with his wife, sculptor June Leaf, to Nova Scotia. Frank also discusses his iconic photography book The Americans and the various films he made about his family, particularly his troubled son, Pablo. One may initially wonder what Frank could’ve objected to in terms of content, especially given the frankness of his own work, but Leaving Home, Coming Home exudes a cumulative force and a lingering gravitas. It gradually becomes apparent that Frank is revealing more of himself than he intends to.
Quentin Tarantino’s Once Upon a Time…in Hollywood is presented, right down to the ellipses in its title, as a diptych. But instead of just being a way to structure a piece of entertainment for commercial reasons—like the Grindhouse double feature, the two-part Kill Bill, and the “roadshow” version of The Hateful Eight, which was broken up by an intermission—this demarcation separates two distinct periods: the beginning of the end (February 1969) and the end itself (the summer of ‘69). And it’s a juxtaposition that shows old Hollywood in a time of transition, from dog days to death throes.
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Foreman’s documentary also sees him obsessively parsing coincidences and missed connections. He clings to them as so many furtive psychic lodestars, so as to bring MacCaig closer to him. Even the referent of the “you” in the film’s title is overloaded with meaning. It’s probably directed to MacCaig, but it could just as well be aimed at British viewers. Or, perhaps, it’s self-reproach on Foreman’s part, as he sifts through MacCaig’s archive.
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Western Michigan defensive back Patrick Lupro (4) carries the ball while BYU defensive back Dayan Ghanwoloku (5) works to bring him down during the Famous Idaho Potato Bowl Friday, Dec. 21, 2018, at Albertsons Stadium in Boise, Idaho. NOTE: I wish I had just a little more depth of field here for Lupro. I did however love shooting some daytime college football; that is such a rarity for me.
From the Eifman Ballet to a critics’ film festival, there’s so much to check out in Chicago in the week ahead.
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In the film’s finest scene, Tate even watches herself: at a matinee screening of Phil Karlson’s 1968 Dean Martin vehicle The Wrecking Crew. The sequence is resonant in no small part for its layers, with Robbie, as Tate, watching the real Tate (Tarantino uses actual footage from The Wrecking Crew for the scene). The whole thing suggests a kind of eerie feedback loop of celebrity and its cycles of consumption, but it’s also a profoundly moving scene: Effortlessly nailing the moment, and without any dialogue, Robbie responds, in character, to the film on a diegetic level, watching her own performance, but at the same time, there’s also the added metatextual layer of Robbie watching the very actress whom she’s playing.
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