In the second iteration of “Re-viewed Film School” Ivan brings back filmmaker and cinephile Shahir Daud to talk about David Gordon Green’s George Washington, which—with its depiction of a lazy summer hanging out with impoverished kids in the rural south—had a huge impact on me personally at the turn of the millennium.  The goal of this “film school” series is simple: revisit classic movies that often comprise a cinematic education and determine if they work beyond a purely intellectual capacity. In that regard, does George Washington still feel as profound 17 years later? What makes a movie pretentious? When does something transcend into art? Once again, Shahir provides a wide breadth of knowledge about the indie film scene and the prototypical “Film School” movie.

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A critical darling (but commercial flop) when it was released in 2002, Paul Thomas Anderson’s Punch-Drunk Love is a divisive movie. Emotional, romantic, and undoubtedly weird, it features Adam Sandler ditching his “Happy Madison” schtick, and replacing it with some serious acting chops. When looking back at this film 12 years later, how does it stack up amongst the rest of PTA’s canon? Moreover, is it truly a masterpiece as some critics claim?