If you frequent sites heavily traveled by cinephiles, such as Sight and Sound and Keyframe Daily, you’ve likely seen the work of pseudonymous Nashville-based filmmaker Ernie Park, whose artful “supercuts” isolate an element of a director’s style — Kubrick’s one-point perspectives, Ozu’s passageway shots, Terrence Malick’s use of fire and ice — in hypnotic montages. They make familiar movies seem new, urge viewers to look at the films differently, and refocus our attention on the work — hallmarks of the very best film criticism.
