In Steven Spielberg’s semi-disguised autobiography, the protagonist worships film.
A Roman Catholic kid of my acquaintance, on his first trip to the cinema, paused to genuflect in the aisle before taking his seat. A perfectly understandable mistake. The same kind of awe consumes Sammy Fabelman (Mateo Zoryon Francis-DeFord), a young Jewish boy, as he yields to the ineffable mystery of the big screen, at the start of Steven Spielberg’s “The Fabelmans.” No bending of the knee, but Sammy has never seen a film before, and his eyes widen, in delicious dread, at the sight of a train crash in “The Greatest Show on Earth.” For him, I reckon, that could be the title of every movie ever made.
Esta historia es de la edición November 21, 2022 de The New Yorker.
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Esta historia es de la edición November 21, 2022 de The New Yorker.
Comience su prueba gratuita de Magzter GOLD de 7 días para acceder a miles de historias premium seleccionadas y a más de 8500 revistas y periódicos.
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TRIPLE FAULT
A meal is never just a meal in a Luca Guadagnino movie; each bite is a prelude to a kiss, every feast a form of foreplay.
NIGHT MUSIC
“Stereophonic” and Cabaret at the Kit Kat Club” on Broadway.
LITTLE OLD HER
Is Taylor Swift doing too much?
BEASTLY MATTERS
Where the logic behind the concern for animal welfare begins and ends.
PULSE
He footed off his shoes, the logs balanced on an arm, and tugged the door shut.
TOWER IN FLAMES
What kind of right is academic freedom?
THE BATTLE FOR ATTENTION
How do we hold on to what matters in a distracted age?
ON NATIVE GROUNDS
Deb Haaland faces the cruel history of the agency she now leads.
DESIGN FOR LIVING
Can converting office towers into apartments save empty downtowns from ruin?
HOROSCOPES WRITTEN BY MY MOTHER
Your zodiac alignment this month is governed by Venus, the planet of intuition, something my daughter Bess seems to lack.