"The directors admitted outright that they had made a film of the sort that neither of them would normally go see—both of them preferred 'Hollywood' to 'art' movies..." So notes David Bellos in his
From I Walked With a Zombie (1943); featuring Betsy Connell; directed by Jacques Tourneur; produced by Val Lewton; cinematography by J. Roy Hunt.
In the September 2006 issue of Film Comment, writer-director-critic Paul Schrader wrote a 16-page history/defense of film canons that ended with a proposed film canon of his own. The films Schrader selected
I see from the newsletter from the good people at Second Run that over in Britain they're having a theatrical screening of Valerie a tyden divu (Valerie and Her Week of Wonders), which the company has
I wish I could give some eloquent reason why the Anthology Film Archives' retrospective of French New Wave filmmaker Jean-Daniel Pollet—titled Unidentified Filmic Objects, and which starts tomorrow—is
Roberto Rossellini’s mid-career output is best known for The Flowers of St. Francis or his Ingrid Bergman collaborations like Voyage to Italy. But we should welcome two films from the period have come
Reputations resurrected, re-contextualized, and revitalized: even as the future of home video, at least in the form of the DVD medium, is starting to look uncertain, at the very least cinephiles must
"I don't want to hear! I've changed my mind, I won't do it!" says a puling, nearly hysterical Henry von Frankenstein (Colin Clive) when his one-time mentor, Dr. Pretorious (Ernest Thesiger), once again
David Phelps has provided a more than ample introduction to Olivier Assayas' new film, Summer Hours, which can be found here at The Auteurs. We had the opportunity to sit down with the writer/director
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