Inspector Bellamy and Cold Weather have, frankly, a lot in common: a male detective with an interest in crime fiction (in Bellamy Georges Simenon and Agatha Christie take the places occupied by Arthur
As discontinuous viewing increasingly becomes the norm and the slicing-up of films via image captures and video editing becomes a key part of the cinephilic experience, it seems more and more like history
From Raoul Walsh's Manpower (1941); cinematography by Ernie Haller; editing by Ralph Dawson. No need for words, but I want to give you some nonetheless: our new series on the underrated art of the
True Grit: four keenly-realized characters suspended in a moral vacuum. The realization of the characters is a question of the actors' inventiveness and a certain interaction of editing and screenwriting;
The shocking reveal of an alternate score to Godard’s Contempt, one for the Italian release, done by the prolific Piero Piccioni.
Darren Aronofsky: a resourceful technician (Pi) of considerable range but little imagination (Requiem for a Dream), after attempting an artwork of his own (The Fountain), resigns himself to a career
At its essence, White Material is an exploded chamber drama. A Haneke-style family unit (complete with a brutally bored son) holed up mentally, emotionally, economically and geographically encounters
From Shall We Meet at 7? (1963): a perfect pop song plus ghostly early video technology.
From "Women's Ways," Mikio Naruse's contribution to the omnibus film The Kiss (1955), which consists almost entirely of scenes where Hideko Takamine, our favorite sad-eyed gal, looks at something or
Bruce Willis winces, Jason Statham mouths off, Arnold Schwarzenegger quips and gets irritated, Jackie Chan mugs earnestly, Steven Seagal swings his ego like a big distended gut—but only Jean-Claude
If there's any modern director who could be called an ascetic of the spoken word, it’s Eugène Green. It’s not that his films aren’t talky; in fact, the majority of the action occurs in and around the
I wanted to talk to Sergei Loznitsa about time because My Joy (which Daniel Kasman wrote about in this year's Cannes coverage) begins with a body being thrown into a concrete mixer and then there's