Author Archive: Daniel Engelke
Daniel currently resides in New York City working as a freelance writer and director. He is a graduate of the Film and Video department of Columbia College, specializing in Italian Neo-realism and French & British New Wave cinema.
Who is CuCu Diamantes? This is the question you’ll be asking during her film Amor Cronico. The film follows Cuban-American singer CuCu Diamantes who returns to her home country of Cuba for an island-wide tour. Accompanied by a pint-sized doting manager Guarapo, a sprawling cocktail lounge band, and a giant heel (literally), she tours the […]
The raving and remonstrating over subliminal messages in popular music is over. Sure, zealous listeners claim to hear voices of the Illuminati in contemporary hip-hop, but the hoopla is mostly a thing of yesteryear. In David Van Taylor’s 1991 documentary Dream Deceivers, the story of two teenagers who attempted suicide due to the urging of […]
London, 1964. Our feet tap and fingers snap to Eight Days a Week. We know all their hits on the radio and have seen them on the telly, but never like this: John, Paul, George, and Ringo – The Beatles – in person. OK, it’s not 1964 and unfortunately only half of the World’s Favorite […]
Last week I had the opportunity to sit down with director Nicholas Wrathall to discuss his new documentary on Gore Vidal, The United States of Amensia. Our conversation covers many of the subjects mentioned in my review of the film – including the personality and politics of Gore Vidal, along with the director’s impetus behind the creation […]
Gore Vidal: The United States of Amnesia is the “last word and testimony” of one of the last stalwart liberal writers of the 20th century. After the passing of Norman Mailer and Kurt Vonnegut in 2007, last stood Gore Vidal. For those familiar with the writer, the lengthy title is not only a favorite quotation, but […]
Claire Denis’ follow up to 2009’s White Material is a gritty film-noir about a Parisian sex ring entitled Bastards. The French title Les Saluds is certainly more poetic, but the film is anything but. As in her previous productions, Denis remains an unsympathetic provocateur. Bastards opens with Navy officer Metro leaving his ship to fix a family problem in Paris. Though […]