Topic

Literary criticism

Reading professionally, and arguing about what that entails.

5: in film
13:00: average
65 min: in total
26: across the network

Literary criticism across the network →

All briefs5

13:00

An Angel at My Table

Jane Campion · 1990

Jane Campion’s 1990 film adapts Janet Frame’s three autobiographies into a restrained, chronologically grounded portrait of a New Zealand writer whose voice was nearly erased by misdiagnosis and institutionalisation. Kerry Fox leads a layered performance across Frame’s life stages, supported by Stuart Dryburgh’s muted cinematography and Veronika Jenet’s unhurried editing. It avoids biopic cliché, focusing instead on the quiet labour of self-reclamation through language.

13:00

Burroughs: The Movie

Howard Brookner · 1983

Howard Brookner’s 1983 documentary Burroughs: The Movie is the only film made with William S. Burroughs’ full participation during his lifetime. Shot over five years with Tom DiCillo and sound by Jim Jarmusch, it traces Burroughs’ life through interviews, location footage, and quiet observation—no narration, no re-enactments, no interpretive framing. The film premiered at the 1983 New York Film Festival and aired as part of BBC Arena. Restored in 2012, it remains a rare, unvarnished portrait of a writer whose life and work resist easy summary.

13:00

Naked Lunch

David Cronenberg · 1991

David Cronenberg’s 1991 film Naked Lunch reimagines William S. Burroughs’s 1959 novel not as narrative but as psychological architecture. Starring Peter Weller as writer William Lee, it traces a descent into hallucination following the accidental death of his wife—a descent rendered through literalised surrealism, tactile special effects, and Howard Shore’s layered score. Shot in Toronto with deliberate visual austerity, the film treats addiction, authorship, and language as interlocking systems of compulsion and control. Though commercially unsuccessful and structurally demanding, it endures as a rigorous, self-contained exploration of how trauma reshapes perception—and how perception, in turn, writes itself into being.

13:00

The Dead

John Huston · 1987

John Huston’s final film adapts James Joyce’s 'The Dead' with restrained fidelity: a Dublin Epiphany party in 1904 becomes the vessel for Gabriel Conroy’s quiet epiphany about love, memory and mortality. Shot largely on a CalArts soundstage due to Huston’s failing health, Fred Murphy’s cinematography and Tony Huston’s screenplay preserve the story’s hushed intensity. Anjelica Huston and Donal McCann anchor an ensemble cast in performances defined by subtlety, not declaration. The film’s strength is its unwavering commitment to emotional realism — no flashbacks, no exposition, no catharsis, only the slow, snow-laden fall into understanding.

13:00

The Europeans

James Ivory · 1979

James Ivory’s 1979 film adapts Henry James’s 1878 novel about European siblings arriving in 1850s New England, where their charm unsettles their puritanical American cousins. Shot on location in Massachusetts and New Hampshire, it relies on understated performances, natural light, and period detail to evoke cultural friction without melodrama. Though modest in scale, it launched Merchant Ivory’s celebrated run of literary period dramas.