Conjuring ‘The Arabian Nights’ in THE ADVENTURES OF PRINCE ACHMED.
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.
CAROL is so unlike other Highsmith novels that it wasn’t even published under her name.
On BOB BIRDNOW’S REMARKABLE TALE OF HUMAN SURVIVAL AND THE TRANSCENDENCE OF SELF.
Marcel Carné’s masterpiece remains a model of not giving barbarity the satisfaction.
In G.W. Pabst’s classic, Louise Brooks was too much for society to handle.
This week’s Brazilian Film Series entry, CASA GRANDE, is one of four striking new-to-U.S. works.
Scott MacDonald’s new book recalls SUNY Binghamton’s legendary Cinema Department.
Distributors, take note: A BLAST feels like A WOMAN UNDER THE INFLUENCE as reinterpreted by early Nicolas Roeg.
On Werner Herzog’s journey by foot from Munich to Paris.
Dujardin and Hazanavicius take very precise satirical stabs at the filmic styles of the ‘classic’ Bond period.
While Hollywood vacillates between two stereotypes, African directors know that the continent is somewhere between heaven and hell: Earth.