{"id":162135,"date":"2022-10-21T11:30:36","date_gmt":"2022-10-21T15:30:36","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=162135"},"modified":"2022-10-21T11:21:25","modified_gmt":"2022-10-21T15:21:25","slug":"new-york-film-festival","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2022\/10\/21\/new-york-film-festival\/","title":{"rendered":"New York Film Festival Dispatch: Cold War Movies"},"content":{"rendered":"
\"\"<\/a>

\u201cWe are a nation whose fate is to shoot at the enemy with diamonds.\u201d From Diane Severin Nguyen\u2019s If Revolution Is a Sickness<\/em> (2021).<\/p><\/div>\n

When I show up for New York Film Festival’s 9:30 P.M.<\/small> opening-night screening of <\/span>White Noise<\/span><\/i>, Noah Baumbach\u2019s adaptation of Don DeLillo\u2019s 1985 novel, the lobby is already swarming with television executives, publicists, and Lincoln Center benefactors. No one seems to have known how to dress for either the event or the weather. (Puffer coat and sheer tights? Sandals and spaghetti straps? Sensible backpack or Prada bag?)\u00a0\u201cThey told me the vibe was black-tie,\u201d a woman in a sequined gown says to her husband guiltily. He has very clearly been forced to wear a tuxedo. I watch some groups trying and failing to cut the line by flashing the branded wristband we have all been given. <\/span>I find my seat and settle in for a Q&A with Noah Baumbach and members of the cast, including Greta Gerwig, Adam Driver, Jodie Turner-Smith, and Don Cheadle. They crack self-deprecating off-the-cuff jokes, as if there had not been two previous screenings earlier this evening. (At one point Baumbach says the \u201cnine o\u2019clock crowd\u201d is his favorite yet. People cheer.)\u00a0<\/span><\/p>\n

Finally the movie starts, and I take in Adam Driver as Jack Gladney, the chairman of Hitler Studies at the College-on-the-Hill, complete with gaudy button-down, receding hairline, and prosthetic paunch. The film is divided into three sections punctuated by the climactic \u201cairborne toxic event,\u201d which, as in the book, is also the most exciting and easiest bit to follow (a car crashes into a train carrying noxious chemicals; deadly smoke shrouds the sky). As the movie\u2019s abrupt cuts and ecstatic colors make me mildly seasick, I notice some cast members appearing and disappearing into an opera box to glance at themselves on the screen. Perhaps taking their cue from the cast, several audience members trickle toward the exits around the time Babette, played by Gerwig, tells Jack she is afraid to die. (They miss the best part of the movie, which is the extended credits-and-dance sequence in the supermarket, set to LCD Soundsystem\u2019s \u201cnew body rhumba<\/a>,\u201d written for the film.) The lights come back on and the actors again appear in the opera box, applauding and waving to the crowd.<\/span><\/p>\n

A little after midnight, a group of white-haired men in newsboy caps wander down 66th Street toward Central Park, in the general direction of the after-party. \u201cThat Adam Driver,\u201d one of them says. \u201cPoorly cast. He just isn\u2019t what you\u2019d call an everyman.\u201d A few women walk beside me, discussing the odds of getting in without a wristband. \u201cWhat if Noah Baumbach tells us to leave?\u201d <\/span>A long line leaks out of Tavern on the Green: women in pearls and staticky shawls, men in sport coats over T-shirts and loafers without socks. Someone ushers me toward the front and soon enough I\u2019m holding a miniature cheeseburger, a tiny tiramisu, and a free negroni. A famous DJ plays and red strobe lights flash across walls lined with rows of Campari bottles. I watch a group of women attempt to order spicy margaritas from the bartender, who throws his hands up in exasperation\u2014he can\u2019t serve anything except Campari-based cocktails. The liquor brand is proudly sponsoring the event.\u00a0<\/span><\/p>\n

\u2014Camille Jacobson, engagement editor<\/strong><\/p>\n

<\/p>\n

Adam Curtis\u2019s new BBC series\u00a0<\/span>Russia 1985\u20131999: TraumaZone<\/span><\/i><\/a> is taglined \u201cWhat it felt like to live through the collapse of communism and democracy.\u201d I got stuck on episode three, but it would seem that living through the collapse of communism felt boring, and that absolutely nothing happened that wasn\u2019t depressing and gray. If the film proposes a narrative at all, it\u2019s an anemic, antifictional one: that events\u2014and images\u2014just occur, without human agency. In a departure from Curtis\u2019s past work, the series has no music and no narrational voiceover, no cool, quick cuts; he lets each clip of footage roll impersonally and inevitably.\u00a0<\/span><\/p>\n

Diane Severin Nguyen\u2019s haunting nineteen-minute short\u00a0<\/span>If Revolution Is a Sickness<\/span><\/i><\/a> reminded me of Curtis\u2019s earlier documentaries, particularly Can\u2019t Get You Out of My Head<\/i><\/a>; in what feels like a fictional reenactment of Curtis’s signature stylistic and thematic gestures, <\/span>Nguyen forces associations between surreal, evocative images, asking us to consider whether they mean anything at all. Nguyen\u2019s film, which was shown most recently earlier this month at <\/span>New York Film Festival<\/span>, is the kind of post-end-of-History fairytale Curtis might have loved to discover in the archives: a Vietnamese girl washes ashore on an unknown beach and grows up in an enchanted desolate landscape reminiscent of Tarkovsky\u2019s Zone. Later, as a Hot Topic\u2013clad teenager, she wanders into a city\u2014also barely inhabited\u2014where she joins a dance troupe of Polish youths similarly costumed in once-subcultural styles. \u201cTheir bodies were perfectly aligned,\u201d a voice intones sweetly. \u201cTheir hearts were all the same shape, translucent yet impenetrable.\u201d By the film\u2019s end, the protagonist has abandoned her childhood play for a militant regimen of choreographic exercises that culminates in a K-pop\u2013inspired song-and-dance sequence performed in and around abandoned factories, sparkling streams, and Soviet monuments.<\/span><\/p>\n

The actors\u2019 movements are punctuated by hyperreal bursts of red, enigmatic images that have the symbolic force of propaganda art and the aesthetic emptiness of music-video montages: a ripe strawberry being cut open with a piece of glass, a face being smashed into a heart-shaped jelly cake. In a particularly Curtis-like moment, metallic balloons spell out \u201c1989!\u201d The film manages to perfectly mimic a range of forms and to evacuate their meanings\u2014much like the genre of K-pop itself, an uncanny Eastern hybrid of Western styles whose starlets always seem to be lip-syncing something in a foreign language, even when they\u2019re actually singing in Korean. It also helped me figure out how to finish\u00a0<\/span>TraumaZone\u2014<\/span><\/i>I\u2019ll just play Blackpink in the background.<\/span><\/p>\n

\u2014Olivia Kan-Sperling, assistant editor<\/b><\/p>\n

In\u00a0<\/span>Happening,\u00a0<\/span><\/i>Annie Ernaux writes: \u201cMaybe the true purpose of my life is for my body, my sensations and my thoughts to become writing, in other words, something intelligible and universal, causing my existence to merge into the lives and heads of other people.\u201d Audrey Diwan\u2019s recent film adaptation of Ernaux\u2019s autobiographical novel, which centers her unwanted pregnancy at the age of twenty-three, manages to do something like this. The musical score is comprised of unsettling string phrases, such that a scene in which she desperately considers her options has the air of a horror movie; the camera hovers on her body, alone, stressing the separation between Annie and any social collective that could help her. This is a film that captures physical precarity in its very grammar.<\/span><\/p>\n

\u2014Campbell Campbell, intern<\/strong><\/p>\n

\"\"

The Campari bar at New York Film Festival\u2019s opening of White Noise<\/em>.<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

On films by Noah Baumbach, Adam Curtis, Audrey Diwan, and Diane Severin Nguyen.<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[68386],"tags":[68555,22974,68556,67827,41613,2308],"class_list":["post-162135","post","type-post","status-publish","format-standard","hentry","category-the-reviews-review","tag-adam-curtis","tag-annie-ernaux","tag-diane-severin-nguyen","tag-featured","tag-new-york-film-festival","tag-noah-baumbach"],"acf":[],"yoast_head":"\nNew York Film Festival Dispatch: Cold War Movies by The Paris Review<\/title>\n<meta name=\"description\" content=\"October 21, 2022 \u2013 On films by Noah Baumbach, Adam Curtis, Audrey Diwan, and Diane Severin Nguyen.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2022\/10\/21\/new-york-film-festival\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"New York Film Festival Dispatch: Cold War Movies by The Paris Review\" \/>\n<meta property=\"og:description\" content=\"October 21, 2022 \u2013 On films by Noah Baumbach, Adam Curtis, Audrey Diwan, and Diane Severin Nguyen.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2022\/10\/21\/new-york-film-festival\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2022-10-21T15:30:36+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/10\/screen-shot-2022-10-19-at-020420-1024x575.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1024\" \/>\n\t<meta property=\"og:image:height\" content=\"575\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"The Paris Review\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@parisreview\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"The Paris Review\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/10\/21\/new-york-film-festival\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/10\/21\/new-york-film-festival\/\"},\"author\":{\"name\":\"The Paris Review\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e\"},\"headline\":\"New York Film Festival Dispatch: Cold War Movies\",\"datePublished\":\"2022-10-21T15:30:36+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/10\/21\/new-york-film-festival\/\"},\"wordCount\":1160,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/10\/21\/new-york-film-festival\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/10\/screen-shot-2022-10-19-at-020420-1024x575.png\",\"keywords\":[\"Adam Curtis\",\"Annie Ernaux\",\"Diane Severin Nguyen\",\"Featured\",\"New York Film Festival\",\"Noah Baumbach\"],\"articleSection\":[\"The Review\u2019s Review\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/10\/21\/new-york-film-festival\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2022\/10\/21\/new-york-film-festival\/\",\"name\":\"New York Film Festival Dispatch: Cold War Movies by The Paris Review\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/10\/21\/new-york-film-festival\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/10\/21\/new-york-film-festival\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/10\/screen-shot-2022-10-19-at-020420-1024x575.png\",\"datePublished\":\"2022-10-21T15:30:36+00:00\",\"description\":\"October 21, 2022 \u2013 On films by Noah Baumbach, Adam Curtis, Audrey Diwan, and Diane Severin Nguyen.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/10\/21\/new-york-film-festival\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2022\/10\/21\/new-york-film-festival\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/10\/21\/new-york-film-festival\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/10\/screen-shot-2022-10-19-at-020420.png\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/10\/screen-shot-2022-10-19-at-020420.png\",\"width\":2873,\"height\":1614},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/10\/21\/new-york-film-festival\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"New York Film Festival Dispatch: Cold War Movies\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"name\":\"The Paris Review\",\"description\":\"The best prose, interviews, poetry, and art. Since 1953.\",\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.theparisreview.org\/blog\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\",\"name\":\"The Paris Review\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png\",\"width\":696,\"height\":696,\"caption\":\"The Paris Review\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/parisreview\/\",\"https:\/\/x.com\/parisreview\",\"https:\/\/www.instagram.com\/parisreview\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e\",\"name\":\"The Paris Review\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/c15ccd1e2629bc3b1a8aa1a407e1186742acfaf923abe2addfec0885197794ff?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/c15ccd1e2629bc3b1a8aa1a407e1186742acfaf923abe2addfec0885197794ff?s=96&d=mm&r=g\",\"caption\":\"The Paris Review\"},\"url\":\"https:\/\/www.theparisreview.org\/blog\/author\/parisreview\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"New York Film Festival Dispatch: Cold War Movies by The Paris Review","description":"October 21, 2022 \u2013 On films by Noah Baumbach, Adam Curtis, Audrey Diwan, and Diane Severin Nguyen.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.theparisreview.org\/blog\/2022\/10\/21\/new-york-film-festival\/","og_locale":"en_US","og_type":"article","og_title":"New York Film Festival Dispatch: Cold War Movies by The Paris Review","og_description":"October 21, 2022 \u2013 On films by Noah Baumbach, Adam Curtis, Audrey Diwan, and Diane Severin Nguyen.","og_url":"https:\/\/www.theparisreview.org\/blog\/2022\/10\/21\/new-york-film-festival\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2022-10-21T15:30:36+00:00","og_image":[{"width":1024,"height":575,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/10\/screen-shot-2022-10-19-at-020420-1024x575.png","type":"image\/png"}],"author":"The Paris Review","twitter_card":"summary_large_image","twitter_creator":"@parisreview","twitter_site":"@parisreview","twitter_misc":{"Written by":"The Paris Review","Est. reading time":"6 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2022\/10\/21\/new-york-film-festival\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2022\/10\/21\/new-york-film-festival\/"},"author":{"name":"The Paris Review","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e"},"headline":"New York Film Festival Dispatch: Cold War Movies","datePublished":"2022-10-21T15:30:36+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2022\/10\/21\/new-york-film-festival\/"},"wordCount":1160,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2022\/10\/21\/new-york-film-festival\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/10\/screen-shot-2022-10-19-at-020420-1024x575.png","keywords":["Adam Curtis","Annie Ernaux","Diane Severin Nguyen","Featured","New York Film Festival","Noah Baumbach"],"articleSection":["The Review\u2019s Review"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2022\/10\/21\/new-york-film-festival\/","url":"https:\/\/www.theparisreview.org\/blog\/2022\/10\/21\/new-york-film-festival\/","name":"New York Film Festival Dispatch: Cold War Movies by The Paris Review","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2022\/10\/21\/new-york-film-festival\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2022\/10\/21\/new-york-film-festival\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/10\/screen-shot-2022-10-19-at-020420-1024x575.png","datePublished":"2022-10-21T15:30:36+00:00","description":"October 21, 2022 \u2013 On films by Noah Baumbach, Adam Curtis, Audrey Diwan, and Diane Severin Nguyen.","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2022\/10\/21\/new-york-film-festival\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2022\/10\/21\/new-york-film-festival\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2022\/10\/21\/new-york-film-festival\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/10\/screen-shot-2022-10-19-at-020420.png","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/10\/screen-shot-2022-10-19-at-020420.png","width":2873,"height":1614},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2022\/10\/21\/new-york-film-festival\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"New York Film Festival Dispatch: Cold War Movies"}]},{"@type":"WebSite","@id":"https:\/\/www.theparisreview.org\/blog\/#website","url":"https:\/\/www.theparisreview.org\/blog\/","name":"The Paris Review","description":"The best prose, interviews, poetry, and art. Since 1953.","publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.theparisreview.org\/blog\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/www.theparisreview.org\/blog\/#organization","name":"The Paris Review","url":"https:\/\/www.theparisreview.org\/blog\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png","width":696,"height":696,"caption":"The Paris Review"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/parisreview\/","https:\/\/x.com\/parisreview","https:\/\/www.instagram.com\/parisreview"]},{"@type":"Person","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e","name":"The Paris Review","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/c15ccd1e2629bc3b1a8aa1a407e1186742acfaf923abe2addfec0885197794ff?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/c15ccd1e2629bc3b1a8aa1a407e1186742acfaf923abe2addfec0885197794ff?s=96&d=mm&r=g","caption":"The Paris Review"},"url":"https:\/\/www.theparisreview.org\/blog\/author\/parisreview\/"}]}},"_links":{"self":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/162135","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/comments?post=162135"}],"version-history":[{"count":15,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/162135\/revisions"}],"predecessor-version":[{"id":162160,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/162135\/revisions\/162160"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=162135"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=162135"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=162135"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}