by Ryland Walker Knight
I'm far too tired this week to offer much more beyond: Esther Kahn is one of The Great Things. This scene in particular hits me in all the right spots. This scene, like the film as a whole, makes my ideas about acting in the world seem redundant and old hat, nothing new. But I guess that's why I dig Adrian Martin and Andrew Klevan and what they offer us in this conversation almost as much as I dig Wittgenstein and Austin and Cavell—and Summer Phoenix. She's just perfect here, isn't she? Wrecks me something fierce, too, Zach; and then it builds me up again with the drop of a curtain and a carriage clopping forward.