Articles by Calum Marsh
Pialat and Cassavetes are concerned with the ways a woman’s ferocious independence can alienate and even terrify those around her.
Schlock auteur and brilliant businessman William Castle emerged at the end of the first 3D fad promising innovations of unprecedented grandeur and audacity.
On the uncanny qualities of Jessica Oreck’s films.
Speaking of drama, time, street life and strange attractions: ‘You’re constantly flirting with death.’
Diminished standards, ethical bankruptcy, the easy propagation of mistruths—unique to modern journalism? Let’s consider the history.
Seen today, of course, CONTRABAND is hardly a call to arms. But its propagandistic thrust may account for the vigor of its action.
The emphasis in Fantasia is on ‘fan:’ it’s a festival mounted by and for enthusiasts, there to revel in their love of film.
Daring to exalt in the victories of the Hollywood system.
Ramon Zürcher’s ode to tension and release squeezes Jacques Tati-style preoccupations into the space of a tiny apartment.
‘Bruno Stroszek’ remains one of the great human characters because Bruno Schleinstein gave one great human performance.