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Richard Brody on Muck Rack

Richard Brody

Verified
New York
As seen in: The New Yorker, Medium, Rotten Tomatoes, Flipboard, Metacritic, RealClear Politics, Notebook, eCartelera, NewsBreak, Wired Japan, Dialnet - Universidad de La Rioja and
I am the movies editor for Goings On About Town and the author of “Everything Is Cinema: The Working Life of Jean-Luc Godard.”
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Articles

Christopher Nolan’s “The Odyssey” Leaves the Gods in the Outtakes

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By Richard Brody Verified
| The New Yorker Verified
Nolan advances his vision, however crowd-pleasing and anachronistic, with vigorous confidence and unimpeachable clarity. The dialogue, terse and contemporary, puts his distinguished cast of actors in their comfort zone and turns ancient, iridescently complex figures crystalline and hard-edged.
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“Remake” Confronts a Father’s Grief and a Filmmaker’s Responsibility

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By Richard Brody Verified
| The New Yorker Verified
The ethical core of “Remake” is McElwee’s own cinematic practice, a subject that has come to the fore in previous films of his, when subjects—particularly family members—take issue with his recording private situations and making them public. In “Remake,” McElwee considers Adrian’s troubles in light of their relationship, both as father and son and as filmmaker and subject. He talks about the casual filmmaking he did with Adrian, done a bit at a time but adding up to a large amount of material.
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Éric Rohmer’s Novel “Élisabeth” Is a Precocious Literary Triumph

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By Richard Brody Verified
| The New Yorker Verified
The undercurrent of unsatisfied lust that runs through “Élisabeth” bursts to the fore when Michel, giving a high-school student named Jacqueline a lift, introduces himself under a false name and then unhesitatingly dares, as she later says, to “jump on top of” her. He touches her sexually—apparently not to her displeasure—but then keeps going, forcefully, after she clearly and repeatedly tells him to stop. The scene is far more sexually detailed than any in Rohmer’s films.
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