The art isn’t limited to the covers, either – every other page is adorned with a cute little sketch that accompanies the text itself. These are the kind of books that are meant to be collected, and they look damn nice on a shelf next to each other.
The art, by Chris Delorenzo, is an amorphous collage of people, places and things that encapsulate the subjects contained within, backed by a single, eye-popping color – Wes Anderson‘s pastel pink, Vampire Movies’ blood red, New York Movies‘ lemon yellow. These books, though, are deep, rewarding dives into a particular corner of the cinematic universe, in a nifty physical format that won’t bug you with Instagram notifications at the top every thirty seconds.Įven before opening up the books, their covers alone are worth running your eyes over. All three are short, spiffy,~200-page reads about their respective topics, adorned with the same quirky pop-art decoration as any given feature on Little White Lies. Today, Little White Lies released their first three books in the series – Wes Anderson by Sophie Monks Kaufman, Vampire Movies by Charles Bramesco, and New York Movies by Mark Asch. Now, they’ve expanded their critical powers to a new series of small, pocket-sized books – the “Close-Ups” series – and they’re off to a heck of a good start.
With its focus on idiosyncratic features, cultivating a roster of incredible critics, and buoyed by vivid, pop-art aesthetics, the magazine is a powerful force for film knowledge in the world.
When conceptualizing The Spool, one of our greatest inspirations for this relatively nascent young outlet was the film magazine Little White Lies – a haven for smart, sophisticated criticism in this increasingly balkanized world of clickbait and shrinking journalism budgets. Whether you’re interested in the cinema of New York, Wes Anderson, or creatures of the night, the venerable film magazine has you covered.
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