A couple months ago I got on a Jean-Michel Basquiat kick. You probly know who that is, but if not, he was a New York City graffiti artist in the early hip hop era, transferred his skills to paintings for galleries, became rich and famous and friends with Andy Warhol and stuff in a brief, prolific life before (like so many bright lights) dying of a drug overdose at 27.
Set aside the inspirational underdog story, the meteoric rise, the quirky details, the tragic ending. All interesting, but you don’t need any context for his art to be incredible. Labelled a “neo-expressionist,” he just has this lively, messy style, an explosion of scratches and scrapes and colors and doodles and words. If they are child-like, then the child in question must’ve remained young for 100 years, evolving his drawing into highly sophisticated crudeness. There are traces of influences from cartoons to African art, he sometimes references boxers and current events and social issues, but he translates it into these distinctive scribbles and cryptic/poetic phrases, sculpting beauty and humor from garbage and decay and vandalism. I don’t know of anybody quite like him, and lately (even before… you know) I’ve really been feeling it’s important to honor and glorify the true originals and pure artists among us, through my chosen medium of, uh, movie reviews. So here I am, glorifying Jean-Michel Basquiat. (read the rest of this shit…)
SHE IS CONANN, original title CONANN, is the recently-released-on-disc third film from French director Bertrand Mandico. I previously reviewed and loved his second film 
There’s this weird French filmmaker, Bertrand Mandico. He has a new movie I’ve seen people raving about called SHE IS CONANN. When I read about it, I realized that over the last few years I’ve read about two other movies of his that also sounded really intriguing. So I decided to finally try one.
