1989’s SANTA SANGRE serves up lurid content with a certain bemusement at its own absurdity.
‘In watching both LET JOY REIGN SUPREME and LIFE AND NOTHING BUT, I’ve come to realize I’ve been sleeping on not one great artist, but two.’
At nearly six months distance, 2014 still stands as a year of irreconcilable sadness, beauty and meta-puzzle-making surrender.
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.
Gael García Bernal provides a small vignette in which labor and its local economy is not only seen, but felt.
Sara Lamm and Mary Wigmore talk about bringing a story about natural childbirth to life.
Welles to Bogdanovich: THE TRIAL is ‘the most autobiographical movie that I’ve ever made, the only one that’s really close to me.’
Travelogue as essay: ‘Home movies’ as only Welles could make them.
Oppenheimer’s shorts conquer long political stories and raise unanswerable questions.
Never get off that pedestal: Anita Ekberg.