Article Archive for September 2011
Julia Loktev’s film is the sharpest account of what it means to be a young American made thus far in the 21st century.
Roman Polanski’s film about four miserable jerks is ultimately as moving as anything the cinema has produced this year.
Ceylan’s films possess a cinematographic range that literally encompasses night and day.
The award-winning film Since Otar Left is profoundly perceptive in terms of technique.
Telluride is a decidedly august festival, even while resistant to claims that it isn’t edgy anymore.
Olivier Assayas’ “Irma Vep” uses the iconography of the classic French serial “Les Vampires” as a springboard to skewer the world of filmmaking.
Zeitgeist’s catalog is one of the most exceptional in international cinema.
n Roger Ebert’s memoir ‘Life Itself,’ Ebert points his high-powered perception at himself.
Agnès Varda’s “The Gleaners and I,” a doc. about modern day scavengers, is a fitting culmination of the idiosyncratic and highly personal ideas she has experimented with throughout her career.
A contest with a prize from one of the world’s most unique filmmakers.
Guy Maddin is in his element with COWARDS BEND THE KNEE, which exudes silent film era style and allows the director to live out his own personal fantasies.
The final installment of our epic conversation with Guy Maddin.