Video of the day
Daniel KasmanA video essay on Fritz Lang's 1944 film, The Woman in the Window, by Girish Shambu, commissioned and posted by Kevin Lee of Shooting Down Pictures.
A video essay on Fritz Lang's 1944 film, The Woman in the Window, by Girish Shambu, commissioned and posted by Kevin Lee of Shooting Down Pictures.
Above: Jerry (Jack Black) and Mike (Mos Def) wrapping production of their sweded version of Ghostbusters. When two videostore workers in Be Kind Rewind accidentally erase their aging stock of VSH tapes
Above: James (JimMyron Ross) goes for a sullen walk with his uncle Lawrence (Micheal J. Smith Sr.). Lance Hammer's feature film debut Ballast starts off impressive, sullenly mysterious, and certainly
Above: Ukrainian immigrant Olga (Ekateryna Rak) takes a break during her job as a janitor in an Austrian rest home. Ulrich Seidl’s Import/Export is all influences, no inspiration. A diptych wherein
Above: Béatrice Dalle in her element. It’s about time someone crafted an ode to Béatrice Dalle, the gorgeous French actress who J. Hoberman called “a scarifying Cro-Magnon beauty” in Claire Denis’ Trouble
Above: Haas (Merel van Houts) has an uneasy moment of earnest affection in her tumultuous family. Why is it so continually surprising when a film tells a story as old as time itself, but does so in
Above: As close as they'll ever get, Jeanne Balibar trying to keep Guillaume Depardieu at bay. So it has finally come to this, Jacques Rivette adapting a Balzac novel about the Thirteen, the mysterious
From J'entends plus la guitare (1991); featuring Johanna ter Steege; directed by Philippe Garrel; cinematography by Caroline Champetier: In honor of a new 35mm print being distributed as the inaugural
Above: A Polish poster for Alain Resnais' Last Year in Marienbad, from a script by Alain Robbe-Grillet.
Jean Epstein's 1926 silent film Mauprat is a wonderful discovery, thriving with unexpected, lovely impressionism to tell a seemingly old-fashioned story of brigands, unrequited love, wrongful accusation
Above: Johannes Krisch (left) and Ursula Strauss (right). Revanche shows just how successfully one can transpose the plot and character based drama of Hollywood to the refined style of European art
The pleasures of Johnnie To begin on a purely formal level. Long lenses flattening the shot, a camera on tracks to elaborate tension and movement, those fabulous widescreen tableaux of To’s characters