One of the chief pleasures of Alejandro Iñárritu’s much-lauded Birdman is the film’s vision of New York City. The slice of that metropolis in which Riggan stages his masturbatory effort towards artistic authenticity is absurd and fanciful: represented by a tangle of immaculate sets, cramped yet inviting backstage areas, and a couple of bars and liquor stores, the Manhattan of Birdman is more ideal than reality, more construct than representation. In Riggan’s universe, a light
About Cinematic Zodiac
Cinematic Zodiac is a repository of thoughts about media and art from Isaac Napell.