Five essays to accompany and complement your journey through this year’s St. Louis International Film Festival, Nov. 11-13 at the Missouri History Museum. Find a full programming schedule here.
To anyone who asked, Katherine Dunham repeated a consistent message: training in the performing arts prepared people to face life’s problems. Too often, she felt, individuals wandered through life unaware of how the world worked and how they fit into it.
The Wire would not necessarily be described as a series about race. But that was the beauty of it.
Neighborhoods United for Change frames St. Louis not just as a divided city, but also as one that yokes dispossession in North City to growth in South St. Louis, revealing how both North and South share similar goals.
At the end of The Killing of a Chinese Bookie—all night scenes, of course—Cosmo, John Cassavetes' grand and expansive character of a Hollywood club owner, is hiding his wound and still trying to run the show, but the sense is that he will bleed out before the dawn. They "don’t do day here."
By the time my family moved into Pruitt-Igoe about 10 years after its opening, I had no idea the “solution” had already morphed into a nightmare.
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