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The Dissolve

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EACH ENCORE! COLUMN EXAMINES A PROMINENT FILMMAKER'S BREAKOUT PROJECT AND FIRST FOLLOW-UP FILM, TO SEE HOW BOTH PROJECTS RELATE TO AN EMERGING CAREER.

Featured Encore!

The long cons of Rian Johnson

by Nathan Rabin

The future Star Wars director began his career with two tales of deception—Brick and The Brothers Bloom—that reveled in the spoken word and the language of film. 

  • Paul Thomas Anderson followed up the perfect Boogie Nights with the powerfully, deliberately ragged Magnolia, a film that begins where a lot of films end: at the bottom.

    The beautiful imperfection of Magnolia

    by Nathan Rabin
  • Between his debut, Kicking & Screaming, and The Squid And The Whale, Baumbach struggled to figure out what kind of filmmaker he would be. Two films, the low-budget experiment Highball and the thorny comedy Mr. Jealousy, captured a director losing the voice he had while finding another one.

    Noah Baumbach’s difficult second act

    by Nathan Rabin
  • Bigelow followed her breakthrough vampire classic with a flawed but fascinating study of women, weaponry, and authority starring Jamie Lee Curtis.

    After Near Dark, Kathryn Bigelow crystalized her obsessions with Blue Steel

    by Nathan Rabin
  • In a thrilling twist, the director followed The Sixth Sense with a less-loved but superior look at the superhero mythos.

    Unbreakable comes from a time when M. Night Shyamalan was still surprising

    by Nathan Rabin
  • The director’s 1986 debut, She’s Gotta Have It, suggested he would spend his career making sexy comedies. Two years later, he made it clear he had more on his mind.

    School Daze shut down early notions about Spike Lee's filmmaking identity

    by Nathan Rabin
  • In the debut of his new column on follow-ups to cinematic breakthroughs, Nathan Rabin looks at Mallrats, Kevin Smith’s widely disparaged attempt to make a Porky’s-style comedy after Clerks. 

    Kevin Smith’s Clerks follow-up was equally true to his vulgar soul

    by Nathan Rabin
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