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CHE: A Generational Divide?

Karina Longworth
By Karina Longworth posted 1 year ago
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After Che premiered at the New York Film Festival last week, Glenn Kenny wrote two blog posts in which he criticized anonymous critics for their criticism of Che’s lack of “human drama.” I knew I was implicated in the complaint –– In his first post, Kenny directly quoted a phrase I used in my write-up of the film but didn’t link to said write-up; in the second, he said he found it “exasperating” to see such a complaint from “people who position themselves as new voices, with new perspectives, in cinematic discourse” –– but I didn’t intend to respond. Not only do I stand by my take on the film and have little else to say beyond what I’ve already written, but when somebody criticizes something I write on the internet without linking, that’s basically equivalent to talking behind my back, and I’m usually content to pretend like I don’t know the talk is going on until I’m invited to defend myself.

But over the past few days, as reviews of the film far more considered than my own have started to stack up online, I’ve noticed something that I do think is worth commenting on. …Read more

Cannes: Che Aftermath

Karina Longworth
By Karina Longworth posted 1 year ago
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I didn’t see Che. Last night was the first night since I’ve been here that I had an opportunity to go to bed at a reasonable hour and, after a week of dozing off in screenings on three hours of fitful sleep, I took it. Regrets? Reading the recaps and reviews, I have a few. I mean, if Anne Thompson is right, the Cannes cut will, like the Cannes cut of Richard Kelly’s Southland Tales, never again see the light of day. Comparing Che to that film and others which were brought to Cannes straight out of the oven and half-raw, she blogs:

…Read more