I wrote a little thing about my favorite film of the decade, Punch-Drunk Love, for Salon. I’m not sure if the above image is fan art or “officially” associated with the film (I found it on this French tribute page, which is an excellent source for P-DL reference imagery), but I think it’s a nice visualization of my point that the film is a fusion of cinema and painting. Salon only wanted 300 words, and after I turned it in I thought maybe I should write more on this theme, but I’m not sure if it would make sense to do so outside of an academic context, and I’m definitely not sure I want to go there. We’ll see. UPDATE: I should also note that this piece is part of a series, in which a wide-ranging group of filmmakers and writers consider their own favorite films of the decade. Some of my favorites include Mary Harron on Inland Empire, Andrew Grant on Synecdoche NY, and Michael Tully on The Real Cancun. That last piece begins with the sentence, “No, I’m not kidding.”

I wrote a little thing about my favorite film of the decade, Punch-Drunk Love, for Salon.

I’m not sure if the above image is fan art or “officially” associated with the film (I found it on this French tribute page, which is an excellent source for P-DL reference imagery), but I think it’s a nice visualization of my point that the film is a fusion of cinema and painting.

Salon only wanted 300 words, and after I turned it in I thought maybe I should write more on this theme, but I’m not sure if it would make sense to do so outside of an academic context, and I’m definitely not sure I want to go there. We’ll see.

UPDATE: I should also note that this piece is part of a series, in which a wide-ranging group of filmmakers and writers consider their own favorite films of the decade. Some of my favorites include Mary Harron on Inland Empire, Andrew Grant on Synecdoche NY, and Michael Tully on The Real Cancun. That last piece begins with the sentence, “No, I’m not kidding.”