Tuesday, January 11, 2022

Licorice Pizza (USA: Paul Thomas Anderson, 2021)

 Licorice Pizza (USA: Paul Thomas Anderson, 2021: 133 mins)

Anderson, Paul, et al. "On Licorice Pizza." Film at Lincoln Center (March 24, 2022)

Dargis, Manohla. "Licorice Pizza: California Dreaming and Scheming." The New York Times (November 25, 2021)

Dueren, Sean Van, Tucker Johnson and Scout Tafoya. "3 on Licorice Pizza." Apocalypse Now (January 3, 2022)

Flight, Thomas. "The Evolution of Paul Thomas Anderson." (Posted on Youtube: December 21, 2021)

Hudson, David. "Paul Thomas Anderson's Licorice Pizza." The Current (December 1, 2021)

Jenkins, David. "Licorice Pizza." Little White Lies (January 4, 2022)

Lemire, Christy. "Licorice Pizza." Roger Ebert (December 24, 2021) 

Nayman, Adam. "Show Biz Kids: Paul Thomas Anderson on Licorice Pizza." Cinema Scope #89 (2021)

Warren, Ethan. "The Cinema of Paul Thomas Anderson: American Apocrypha (Columbia University Press, 2023) New Books in Film (March 29, 2023) ["Paul Thomas Anderson’s evolution from a brash, self-anointed “Indiewood” auteur to one of his generation’s most distinctive voices has been one of the most remarkable career trajectories in recent film history. From early efforts to emulate his cinematic heroes to his increasingly singular late films, Anderson has created a body of work that balances the familiar and the strange, history and myth: viewers feel perpetually off balance, unsure of whether to expect a pitch-black joke or a moment of piercing emotional resonance. The Cinema of Paul Thomas Anderson: American Apocrypha (Columbia UP, 2023) provides the most complete account of Anderson’s career to date, encompassing his varied side projects and unproduced material; his personal and professional relationships with directors such as Jonathan Demme, Robert Altman, and Robert Downey Sr.; and his work as a director of music videos for Fiona Apple, Joanna Newsom, and Haim. Ethan Warren explores Anderson’s recurring thematic preoccupations―the fraught dynamics of gender and religious faith, biological and found families, and his native San Fernando Valley―as well as his screenwriting methods and his relationship to his influences. Warren argues that Anderson’s films conjure up an alternate American history that exaggerates and elides verifiable facts in search of a heightened truth marked by a deeper level of emotional hyperrealism. This book is at once an unconventional primer on Anderson’s films and a provocative reframing of what makes his work so essential."]

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