The speaking voice in these new pieces has a refreshingly intimate tone—because it is Rappaport’s own.
The labyrinthine world of Orson Welles hides its truths in a maze of facades and delusions, power games and moral trials, pride and ego and need and defiance rolled into characters at once monstrous and sad.
Harold Lloyd was a master at playing the plucky underdog trying to win The Job and The Girl—both onscreen and off.
Almost forty years after the fact, a film’s animator answers a few lingering questions.
KOMEDA: A SOUNDTRACK FOR A LIFE sheds light on the neglected jazz talent who scored ROSEMARY’S BABY and much more.
To understand how he might have been given carte blanche as a first-time director, you’d need to grasp the cultural juggernaut Ivan Mosjoukine had become.
Vulgar auteurism and the action spectacle, revisited.
Romance, evolving: Jean Vigo’s L’ATALANTE and Roberto Rossellini’s JOURNEY TO ITALY.
When he passed away from heart failure in 2009, cinema lost a willfully marginal, prankish and distinctive personality.
With its tender righteousness clearer than ever today, FAR FROM VIETNAM remains, finally, a fact of history itself.