Seventh Row is a nonprofit Canadian film criticism publication and publishing house. We're dedicated to helping you expand your horizons by curating the best socially progressive films from around the world and helping you think deeply about them. This newsletter is run by Seventh Row (http://seventh-row.com) but features exclusive content not found on the website.
Why is it so hard to see the new Cillian Murphy movie?
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Hello Reader, Last week, a listener who had heard my episode on Small Things Like These expressed to me that she couldn't believe how hard it was to see the film. "I live in Brooklyn, and it's only playing in one cinema! This film has terrible distribution!" That is, the film's rollout to cinemas is terrible. And that got me thinking. That is terrible distribution. And yet Small Things Like These actually has very good distribution for an indie movie, especially given its subject matter, even though it stars newly minted Oscar Winner Cillian Murphy. That's why the film's distribution is as good as it is! It's getting harder and harder to see movies for grownups in cinemas. If they even make it to your local cinema, you might have two weeks or less to see it before it disappears. It's not impossible to see the new Cillian Murphy movie Small Things Like These in a cinema. So you can only imagine how much worse it is for movies that aren't in English and don't have major movie stars behind them! Especially when they're subtle, thoughtful films. On today's podcast episode, I put Small Things Like These in the context of similar films to show you why, even though it's a pain in the neck to try to see it...it's much easier to see Small Things Like These in a cinema than most films of its ilk. In the episode, I discuss:
Happy watching/listening! Alex P.S. If you want to discover 12 great films per year that you might have otherwise missed in cinemas, the brand new Reel Ruminators: Explorer is for you! Doors are now open until Tuesday.
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Seventh Row
Seventh Row is a nonprofit Canadian film criticism publication and publishing house. We're dedicated to helping you expand your horizons by curating the best socially progressive films from around the world and helping you think deeply about them. This newsletter is run by Seventh Row (http://seventh-row.com) but features exclusive content not found on the website.
You might be wondering what it's actually like to step into The Deep Focus. So here's a little taste. The first thing I always do is point you to a moment worth looking at. Below is one from the beginning of Sentimental Value. Take a sec to see what you spot in the image. Everything counts — even (and especially) the obvious. You might have noticed: ✨ We're looking through a window (which takes up most of the frame). ✨ We're watching someone through glass. ✨ Someone is leaving. ✨ It's a...
I’m running something new in April. It’s called The Deep Focus. We’ll spend three weeks with two films by Joachim Trier — Oslo, August 31st and Sentimental Value — following how they’re put together. We'll look at specific moments, trace patterns within and across the films, and see how those choices shape what you feel. If you’ve ever felt a scene hit — and weren't quite sure why — this is a space to stay with that question long enough to find an answer. I won’t tell you what to think.But I...
A couple of weeks ago, I was listening to Bill Hader, the SNL star-turned-writer-director, on the Team Deakins podcast. He was talking about rewatching Who’s Afraid of Virginia Woolf?, hitting a moment that felt like an emotional gut punch — and literally pausing the film to ask:“Why did that hit me?!” That kind of moment — where something lands harder than you expect —and you feel something strongly before you know why… You’ve probably had that, too. Even Hader — who thinks about directing...