In one of the first scenes, Karsh explains to a date that the GraveTech cemetery he built, where Becca, his Jewish wife, is buried, is a "non-denominational" grounds. This isn't quite the right word considering the inter-faith inhabitants of the cemetery. Karsh, a gentile, says that in the end he'll be buried there, next to Becca. This is not the last time in The Shrouds that Karsh will use an exact, but incorrect, word. As a tech founder, it'd be…

Please also read Jennifer West's introduction to the film.

Of the many shorts I've seen that appropriate and then collage movie stills or sequences, I interpret Film Title Poem as one of the more appreciative ones. In it, Jennifer West shines a flashlight on many of the films in the western canon, the ones that either have weird staying power (Men in Black) or are held up as cult classics to the cinephiles (L'Avventura) or are the more obscure works…

The Republic meets my threshold for something that is a movie, despite there being almost nothing to see. If you don't already know: The Republic doesn't utilize a camera. It presents solid colours only... and quite slowly. You could call it a gimmick, but be aware that it is one entry into a category of films that do the exact same thing—notably Derek Jarman's Blue—and still manage to do a new thing. This entry holds interest by grounding the viewer…