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    "A fast, complex, exhilarating roadster ride through history and time.... Kino is an intoxicating Euro-brew, written with enormous skill and dedication." — Frederick Barthelme

    "Jürgen Fauth's deft mashup of genre and historical period is both a full-throttle literary thriller of ideas and a contemplative examination of film and fascism. Kino is a debut of great intellectual  force."– Teddy Wayne

    "A surprising alternative history. Kino brings the golden age of German cinema to light with loving, sometimes gritty, detail and great precision." – Neal Pollack, author of Jewball.

    "A delirious melange of conspiracy, magic, sex, history, bad behavior, and cinema, Kino is a stellar entertainment, and Jürgen Fauth is a writer of rare, sinister imagination." – Owen King, author of Reenactment

    "A light-hearted romp that leads straight into darkness and back through the shadows on the wall."– Ben Loory, author of Stories for Nighttime and Some for the Day

    "Movie nuts arise! A happy and felicitous debut."– Terese Svoboda

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Killer of Sheep

I’m hitting the road for a quarter of Phish in a minute and seeing QT’s latest tonight (updates on Twitter), so I’ll make this quick. Charles Burnett‘s classic of black independent cinema has finally arrived in theaters thirty years after it’s been made, but to be honest, I don’t think the years have treated it kindly. No doubt, in 1977, this must have been an extraordinary and unique film. The artistry and historical value is undeniable, but it didn’t connect with me in a real emotional way and we’ve seen most of its moves many times in the interim. We’ve seen David Gordon Green’s George Washington, we’ve seen urban ennui and indie verite understatement, and we’ve seen Sarah Vaughn been used better by Tom Tykwer–not to speak of the slaughterhouse floor, which we’ve just seen more than enough of (and in color!) in Fast Food Nation and Our Daily Bread. Still, something about this is stuck in my craw and I might give it another spin soon.

Killer of Sheep. Charles Burnett, 1977. ***

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