The Joy Luck Club is composed of four elderly Chinese women who immigrated to the United States of America decades prior to knowing each other, having met at church and formed a strong bond over the years. They spend their afternoons playing mahjong and telling stories, normally about their past experiences. One of them, Suyuan…
Author: The Postmodern Pelican
Resistance (2020)
Set during the early days of the Nazi occupation of France, Marcel Mangel (Jesse Eisenberg) is a young Jewish artist who secretly performs imitations of some of Hollywood’s most famous entertainers in small cabarets, perfecting the art of mime in the hopes of realizing his passion as a feasible career path. However, his dreams are…
Bad Education (2020)
Roslyn High School in Long Island is vying to be the best high school in the country – and they seem to be well on the way to achieving that goal, mostly due to the hard work being done by Dr Frank Tassone (Hugh Jackman), the school’s superintendent that embodies the spirit of dedication through…
Au Hasard Balthazar (1966)
A young donkey is adopted by a rural French family, intended to be a lovable companion to the children as they pass their days on their farm. Their new pet is named Balthazar, and he is the subject of much adoration from the doting children, who treat him as if he were another member of…
Daisies (1966)
One of art’s most iconic quotes comes on behalf of Salvador Dalí, who famously quipped “I don’t do drugs, I am drugs” when asked about the origins of his surrealist tendencies, and what inspired him to experiment with form in such an unprecedented manner. In many ways, the same principle could be applied to Věra…
The Nun (1966)
In the mid 18th century, Suzanne Simonin (Anna Karina) is a mild-mannered young woman from an affluent French family is forced into the nunnery after her mother reveals that she was not conceived by the wealthy man she has been led to believe is her father, but rather an anonymous man of lower status who…
Beware of the Car (1966)
A sub-genre of cinema that I have grown to really appreciate in the past few years are the Soviet comedies that started to be produced almost concurrently to the heightening tensions of the Cold War. I’ve explored several of them in depth, looking at how they’re the most rebellious examples of post-traumatic filmmaking, as they…
How to Steal a Million (1966)
Nicole Bonnet (Audrey Hepburn) is the daughter of a wealthy aristocrat, Charles (Hugh Griffith), who has one of the most extensive art collections in Europe. What his high-society colleagues and admirers don’t realize is that the Bonnet family has made their fortune through forgery, with Charles being a talents artist who has learned the skills…
A Man and a Woman (1966)
A chance encounter on weekend at their children’s boarding school introduces Jean-Louis (Jean-Louis Trintignant), a daredevil racecar driver and Anne (Anouk Aimée), a script supervisor, to each other, and begins a fascinating friendship that sees them becoming quite close over the course of a few weeks. Both of them had been widowed not long prior…
The Face of Another (1966)
“There are monsters who act like people, and people who act like monsters” The Japanese New Wave brought attention to many fantastic filmmakers who were afforded the opportunity to tell their subversive stories through venturing beyond the confines of what many of their more formalist (but no less influential) compatriot forerunners had defined as being…
The Postmodern Pelican 