Article Archive for May 2012
Fine reading from the new issue of frieze and a clip of John Waters discussing Pasolini, porn and the most obscene films of all time.
Fandor’s pitching in to help the National Film Preservation Foundation present a restored version of what James Agee once described as “a fine, terrible, valuable non-fiction film.”
As Bergman Week comes round again, ingmarbergman.se relaunches and a total of seven of Bergman’s films are just out now on Blu-ray.
The Edinburgh International Film Festival: call it a comeback? And more news and events of the day.
The American Way gets bush-HUAC-ed in Allan Dwan’s virulently anti-McCarthy SILVER LODE, a distinctly post-classical Hollywood western from paranoia’s Golden Age.
The renowned Japanese director and screenwriter was probably best known for CHILDREN OF HIROSHIMA (1952) and ONIBABA (1964).
As the first reviews come in, we note the ways in which we’re being encouraged to appreciate Scott as an auteur.
Cannes 2012’s Best Director speaks on method, fear, and absurdity amidst clamorous reception for POST TENEBRAS LUX.
As of today, two-time Palme d’Or winner Michael Haneke may be the most exacting filmmaker of our time, and the most puzzling: A video essay asks: To truly see a Hanake film, should we be prepared to see through it?
Nanni Moretti and the Jury for the 65th Cannes Film Festival have presented the Palme d’Or to Michael Haneke’s AMOUR. More awards: Un Certain Regard, Directors’ Fortnight and Critics’ Week. To see all our coverage of the coverage, head straight to the Cannes 2012 Index.
“Even bloated Miike is often a hoot.”