The Neon Demon

Nicolas Winding Refn makes something out of nothing with his subversive satire The Neon Demon.  Most movies do the same, but Refn’s latest grabs ahold of seemingly vacuous source material and manages to build a world within it where decisions are outrageously vain and scary but oddly comprehensible.


Dior and I

By: Addison Wylie It goes without saying that Christian Dior makes deluxe products for an 
elite clientile, and it doesn’t take a genius to see their elegance at
 first glance.  I suppose this is why some were struck with bewildered
 awe when minimalist designer Raf Simons was asked to take the role as
 artistic director for Dior’s Haute Couture collection.  Simons, a
 proper and modest visionary according to Frédéric Tcheng’s documenatry,
 never takes the opportunity for granted, and is able…


After the Ball

By: Addison Wylie I went into After the Ball already admiring three of its main stars: director Sean Garrity, co-writer Kate Melville, and actress Portia Doubleday.  After the Ball isn’t a type of film I get excited to see, but these are three people I’ve been wanting to see more of ever since they’re strong debuts. Garrity impressed me with his slow burn drama Blood Pressure, yet temporarily lost me when his filmmaking pizazz was…



By: Addison Wylie Fashion icon Iris Apfel has such wonderment, such humbling intellect, and such bewildered enthusiasm.  She’s firm, but looks at her fame as dazed and unfazed.  Her presence is infectious, and in Albert Maysles’ documentary Iris, she helps raise the film to another level.  Without her, the audience would be stuck with Maysles’ cut-and-dry traditional filmmaking. Movie goers are taken through Apfel’s influential history, and observe her optimism when others appreciate her opinion….