Montage for Carl Th. Dreyer, part 2
David PhelpsThe Brooklyn Academy of Music will be running the Carl Th. Dreyer retrospective, appropriately and monolithically titled DREYER, from March 13 - March 31. *** "Hands, which feel life, by which
The Brooklyn Academy of Music will be running the Carl Th. Dreyer retrospective, appropriately and monolithically titled DREYER, from March 13 - March 31. *** "Hands, which feel life, by which
The Brooklyn Academy of Music will be running the Carl Th. Dreyer retrospective, appropriately and monolithically titled DREYER, from March 13 - March 31. *** "What I seek in my films, what I
Above: The Master, Carl Th. Dreyer. *** The Brooklyn Academy of Music will be running a Carl Th. Dreyer retrospective, appropriately and monolithically titled DREYER, from March 13 - March 31
Above: Louis Garrel, behind the camera, and Laura Smet in front of it, in Philippe Garrel's Frontier of Dawn. SPOILERS TO FOLLOW. As if in warm-up for its upcoming Carl Th. Dreyer retrospective, BAM
Turns out Zach was already here.For so many reasons, El is a wonderful movie, a dry-run for Buñuel’s masterpiece of on-again off-again passion and sense (Buñuel, like Lubitsch, is always wondering which
It's White Nights with the two stories compressed to one: (1) boy who falls in love with girl who cries to him over the other man she loves, and (2) that girl caught between the sexy jerk, and the supportive
Made in USA is, like about all Godard’s works, just a documentary of a time, of some places, of some people. A home movie bearing witness to 1967, politically, personally—and the two, here, are
Documentary is the falsest sort of cinema. Reality has value only when it is transposed…
And freedom, when everything’s fenced into place? All that Heaven Allows Godard has two answers, at least. Certainly, there’s a worry, as in Oshima and Kubrick movies, that doubling—one character reflected
Atlantic City (Made in USA’s Paris suburb theme park), 1967, and the revolutionaries, like filmmakers, are dreamers. Dreaming, if they’re the nouveaux réalistes or the situationists, of tearing down reality
“Year Zero,” the term from Rossellini, might be Godard’s favorite mantra, signaled in Made in USA, stated throughout the ’70s, and situated neatly in the title of Germany Year 90 Nine Zero, his portrait
One of the greatest mysteries of Jean-Luc Godard’s Made in USA (1966) is just what the mystery is. Ex-journalist Anna Karina slinks around in a trenchcoat asking about an old lover who’s disappeared, is