Ford is the great artist whose work continues to keep the American story alive.
Avoiding the past only complicates our already complicated souls.
Hopper represents American dreams–lives lived on the photographic paper, on the celluloid, and in the American desert of desires.
To keep moving no matter what—this is where my two sides, Bosnian and American, meet.
On our way toward the edge of the earth.
America is beautiful but she is also harsh. Yes, the raw landscape can be unforgiving but another element is inescapable: awe.
John Ford is not a cynic, but he’s not an idealist either.
Some encounters force us to ask what it means not only to be a man or a woman, but a worthy human being.
Can we open our eyes and reject the idle “twirling” of a society addicted to cynicism, joylessness, and information?
We have to reject the form of life that has been thrust upon us by the media and the digital world.
America was built on the notion of possibility and growth rather than to become a static government that falls into tyranny and turns citizens into subjects.
The fight for the order of things will not go far unless we accept both our finitude and develop a propensity for joy.
In “The Searchers,” Wayne’s character doesn’t fit into America’s emerging new world.
Today, it seems, filmmakers are content to remain in the sea of meaninglessness.
What are these hostile masking policies aiming to accomplish?
We have an ethical responsibility to dismantle the narrative machine.
Are we individual thinkers or are we submitting to the group in order to affirm preconceived notions that have nothing to do with truth or, even, the search for it?
We are living through strange times, and much of what we are witnessing seems unprecedented. Yet the perennial questions of good, evil, truth, and beauty remain.
In “Out of the Past,” it is Robert Mitchum’s intoxicating masculinity that brings us into the fold.
Marilyn Monroe’s ineffable beauty transcends sultriness because her interiority, known only to herself, supersedes the triteness of sexual objectification.