n1fr

N1FR is the irregular online film supplement to n+1, with writing on contemporary American and foreign films. Edited by A. S. Hamrah.

February 2012

N1FR Issue 2

The Essential and the Unclear

If Clooney talks but says nothing, Gallo goes further in Essential Killing: he doesn’t speak at all. More…

Mad as Mel

Lethal Weapon made Mel Gibson a bona fide Hollywood movie star—a macho lead capable of projecting vulnerability. He would repeat this act often. More…

Slacker at Twenty

This early lumpen premonition of the coming Friends-era migration seems to be a preoccupation for this filmmaker. More…

Our Pol Pot

A hand-held camera, a curious and emotionally involved reporter, and a potentially unlimited supply of mass murderers. These are the props of Enemies of the People. More…

More from N1FR Issue 2

August 2010

N1FR Issue 1

To Have Done with the Contemporary Cinema

Since the 1970s, many people have been used to thinking of the cinema as post-revolutionary, or as an unfinished revolution, or as dragging itself on in a kind of zombie-afterlife pastiche-and-parody mode. More…

Bad Influences, Bad Personalities

In the first movie, Carrie pretended to learn that a big diamond ring wasn’t what love and marriage were all about. In the second, she gets her ring, a sinister black diamond symbolizing the war-for-oil aspects of this shameless movie. More…

Claire Denis

Denis is especially receptive to three things: human bodies (especially when they are semi-nude, and especially black touching white skin); bodies of water; and transit. More…

We All Die There Now

In a just world, these relentless references would cost Kick-Ass something. Allusion invites comparison, and in every face-off Kick-Ass comes out the loser: in fact, as soon as Cage mentioned Woo, I wished I were watching Face/Off. More…

More from N1FR Issue 1