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A MAGAZINE ABOUT STYLISH CINEMA

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A monthly focus on the profound impact of film. Artist Roe Ethridge selects his three titles

“Roe Ethridge is a leading figure in conceptual photography today. In his photographs, he uses the real to suggest—or disrupt—the ideal. Through commercial images of fashion models, products, and advertisements, as well as intimate moments from his own daily life, he reveals the fine line between the generic and the personal, merging art-historical genres such as the still life or portrait with the increasingly pervasive image culture of the present.” (Artist Commissions)

FILM PICKS WITH 

ROE ETHRIDGE

The Red Balloon (1956) Albert Lamorisse

"Albert Lamorisse’s exquisite The Red Balloon remains one of the most beloved children's films of all time. In this deceptively simple, nearly wordless tale, a young boy discovers a stray balloon, which seems to have a mind of its own, on the streets of Paris. The two become inseparable, yet the world’s harsh realities finally interfere. With its glorious palette and allegorical purity, the Academy Award–winning The Red Balloon has enchanted movie lovers, young and old, for generations." (Criterion)

Blue Velvet (1986) David Lynch

"A shape-shifting exposé of the sordid underbelly beneath Norman Rockwell-esque suburbia, it’s a coming-of-age story as Freudian nightmare, with MacLachlan’s voyeuristic teen getting way more than he bargained for by intruding on Isabella Rossellini’s sado-masochistic chanteuse and Dennis Hopper’s unhinged, gas-inhaling gangster. Still shocking and subversive over 30 years on, it’s an unqualified masterpiece whose bravura opening sequence presents a microcosm for the themes and imagery of Lynch’s entire career." (Leigh Singer, BFI)

Star Wars (1977) George Lucas

“Star Wars is not an improvement on Mr Lucas’ previous work, except in box-office terms. It isn’t the best film of the year, it isn’t the best science fiction ever to be translated to the screen, it isn’t a number of other things either that sweating critics have tried to turn it into when faced with finding some plausible explanation for its huge and slightly sinister success considering a contracting market. But it is, on the other hand, enormous and exhilarating fun for those who are prepared to settle down in their seats and let it all wash over them. Which, I firmly believe, with the extra benefit of hindsight, is more or less exactly what the vast majority of the cinema-going public want just now.” (Derek Malcolm, Guardian)

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