We’ve got some great stuff for you this week. A little bit of history, a little bit of humor, a little bit of culture, and a little bit of crafting.

  • First up: Andrew Jarecki, director of HBO’s The Jinx, spoke with the New York Times in attempt to clear up some questionable timelines and to describe the experience of waiting on Roberts Durst’s arrest after capturing one of the most incredible moments in the history of crime documentaries. Read it here.
  • Then we have this beautiful/awesome/disturbing Vimeo video, which shows the first and last frames of films. It’s five minutes well worth watching.
  • Our next suggestion is not just one article or video, but an entire community of comedians and their work. This one could keep you browsing time full for weeks. In the words of our own Sean Cureton: JASH is an entertainment site hosted and formed by alternative comedians. Its founding members include Sarah Silverman, Michael Cera, Eric Warheim, Tim Heidecker, and Reggie Watts, who collectively serve as the antidote to the fraternal infantilism of Funny or Die. While their site hosts a multitude of original content, including subsidiary YouTube channels and its associate Video Podcast Network, director Matt Spicer’s short film It’s Not You, It’s Me, originally released in August of 2013 and screened at SXSW of the same year, is of note as it stars Community alumnus Gillian Jacobs, who you can currently catch online in the new season of the aforementioned show at Yahoo! Screen. Matt Spicer’s film, which utilizes Jacobs’ melancholic subtlety and infectious charm, plays off of the minor annoyances characteristic of our loved ones and significant others that drive us crazy, sometimes homicidally so. If you enjoy what you see here, be sure to check out JASH on YouTube, provided alternative comedy and experimental short films are your kind of thing.
  • If you’re feeling like a bit of class, The New Yorker features weekly series of favorite films individually selected by its esteemed team of film critics. This week, Terrence Malick’s The Tree of Life is put under the nostalgic lens, with a video essay which serves to examine Malick’s magnum opus “liberated his cinematic vision by going to its source. It’s a personal film that tells stories about Malick’s own life, but it also delves into the very origin of Malick’s imagination. It plays like a cinematic self-psychoanalysis,” in Bordy’s own words. If you like this short segment, be sure to follow the series on The New Yorker website for weekly installments featuring other critics opinions on various directors and films of note.
  • You may not be up for an entirely new site, or you might not have time for an entire essay. That’s okay! We’ve got something for you, too. Check out this cool DIY project (found by me via Pinterest–a site that is responsible for countless wasted hours, but occasionally turns up something do-able and fun): a shoebox iPhone projector! If you’re a poor college student, or not tech savvy, or lazy, or not up to figuring out airplay, then this might be for you.
  • Finally, an interview with Sean Dunne (Huck Magazine), director of Oxyana, a documentary film which shines a light on prescription drug addiction in Oceana, West Virginia. Sean Dunne won Best New Director at the Tribeca Film Festival in 2013, so this film isn’t brand new, but with the recent Good Samaritan 911 bill in the West Virginia legislature, prescription drug abuse and overdose death prevention is at the surface of West Virginians’ consciousness, and deserves broader attention as not only an epidemic but an epidemic among those already struggling to overcome generations of economic exploitation. *steps down from soap-box* That said, the film is somewhat unpopular with actual residents of Oceana, and Dunne himself took a lot of criticism for his portrayal of the town, so do with that what you will.

Thanks to Dave Shreve, Sean Cureton, Richard Newby, and myself for this week’s clickable items. Until next week, happy browsing!


Featured Image:
Tree of Life, Fox Searchlight Pictures