Like the prose of Virginia Woolf, the films of Olivier Assayas seem built out of one-thing-and-then-another, a fluid staging of long pans and tracking shots in which all sorts of objects and gazes and
From Three Resurrected Drunkards (1968); featuring Kazuhiko Kato, Norihiko Hashida, and Osamu Kitayama; directed by Nagisa Oshima; cinematography by Yasuhiro Yoshioka; music by Hikaru Hayashi
Above: Kåre Hedebrant as Oskar, thinking about what we wants to do to his classmate bullies. "Let the right one in" is a delicious phrase referring to the occult rule that a vampire cannot enter someone
With its quasi-documentary approach and complete lack of recognizable cast, Laurent Cantet’s The Class seemed an unlikely contender for the prestigious Palme d’Or at this year’s Cannes Film Festival
J. Hoberman once said that "to not get Bresson is to not get the idea of motion pictures," and that's a fine assertion (and judgment) and all, but really it isn't risking much. The same could obviously
Imagine that we are sitting in an ordinary room. Suddenly we are told that there is a corpse behind a door. In an instant the room we are sitting in is completely altered; everything in it has taken
For Sam Peckinpah's The Getaway (1975). Designed by Elzbieta Procka.
An unusual concoction, this 1963 Georges Franju picture, which goes about its business as if the nouvelle vague never existed, among other things. An homage to the 1915 Louis Feuillade serial about an
Naomi Kawase’s Nanayo had its premier at the BKKIFF. The bulk of her oeuvre sits in a similar gray area between feature and documentary, like many of the films in the festival (see Part I). The festival
Above: The Convert. Documentaries and their cinema verité cousins were the strongest part of the Bangkok International Film Festival this year. The best documentaries about Thailand—and about Southeast
Above: director Kiyoshi Kurosawa at the New York Film Festival. Photo credit: C. J. Contino. Japanese director Kiyoshi Kurosawa is on the verge of a major surge in his international visibility. Although
Above: Frames from Nathaniel Dorsky's 2008 film, Sarabande.Nathaniel Dorsky’s 15-minute Sarabande starts at dawn and ends at dusk, and, as it took a second viewing to realize, alternates between nature