On the correspondences between Haynes’ CAROL and Barthes’ A LOVER’S DISCOURSE.
Character and stylization in Scola’s JEALOUSY ITALIAN STYLE and DOWN AND DIRTY.
A Greek filmmaker’s early nineties’ films were made for our time.
‘I’m married,’ says one of the wives at one point, ‘I’m just not fanatic.’
Peter Greenaway on his EISENSTEIN IN GUANAJUATO.
Once thought lost, now found—and re-presented—TOO MUCH JOHNSON is funny, clever, cheeky, inventive and genuinely accomplished.
Five in total. That we know of.
Like all Rivette works, it’s obsessed with the interrelationship between theater and life, reality and fantasy. And it accomplishes this while evoking the malaise that came in the wake of May ‘68.
From one black box to another.
Civilization and its discontents rise up in the most interesting ways.