Andrew T. Betzer offers up compelling imagery and a question: Can history hurt you?
A HARD DAY’S NIGHT’s lighter-than-air jauntiness makes 1964’s other big-screen entertainments look as cumbersome as military tanks next to a pogo stick.
VIVRE SA VIE, LE NOTTI BIANCHE, SENSO.
A coming-of-age film placed inside a ticking time bomb, IN BLOOM is charmingly blunt, soulfully constructed.
A SUMMER’S T ALE must surely be the most sexually sophisticated film to ever earn a ‘suitable for children’ rating in most territories.
Who deserves to win? A video essay series applies sense, cinemetrics and subjectivity to the race.
As BOYHOOD vies for big awards this weekend, we revisit the aesthetics of cinema’s bildungsroman.
Potent images propel Glendyn Ivin’s LAST RIDE forward.
With so little Hollywood product catering to (or featuring) women in lead roles, the Academy’s Best Actress nominees leave plenty of room to roam.
Award-winning documentarian Margaret Brown bids a fond farewell to a country music legend in BE HERE TO LOVE ME: A FILM ABOUT TOWNES VAN ZANDT.