Chuck Klosterman on Road Movies
There are two idioms of Road Movies, and the only thing that truly connects them is the presence of asphalt. Films in the vein of Vanishing Point are external, aggressive, mechanically oriented abstractions where the characters remain static (this genus also include movies like The Cannonball Run, The Road Warrior, and the recent Quentin Tarantino project Death Proof). In contrast, a movie like Wong Kar-wai’s recent My Blueberry Nights (or Two for the Road, or Little Miss Sunshine) is supposed to be meandering, personal, and transformative. Essentially, you are either (a) going nowhere fast or (b) going somewhere slow. The fact that we all unconsciously understand those paradigms is how Road Movies succeed.
From “On the Road” by Chuck Klosterman for The Believer; Photo by Avi Richards (@avirichards)
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