De Palmian Dissonance
(Ed. note: A very welcome, detailed, and incisive guest post from Ryan Holt, who does not write enough about cinema over here. This is the second post in a series on De Palma and Chris Dumas’ recent book Un-American Psycho.) In his “film essay” on forgery and deceit, F for Fake, Orson Welles performs a magic trick […]