Above: Emily Mortimer is taught how to deflect her fear by jujitsu instructor Chiwetel Ejiofor in David Mamet's Redbelt. What I like about David Mamet's movies is how lean and propulsive his characters
In Luc Moullet's essay, Better to Burn Out than to Fade Away: Blue Collar Dandy, Moullet frames Jean Eustache's decision to film his grandmother Odette Robert for Numéro Zéro within the context of the
Above: Sophia Loren foresees the end of the empire. After the Second World War, as Hollywood started creeping out of the studios it retreated into after the introduction of sound, location shooting—the
From Black Test Car (1962); directed by Masumura Yasuzo; cinematography by Nakagawa Yoshihisa:
One of my favorite aspects of the freedom animation gives filmmakers is how the form can so dramatically underline how each and every element in a film is interpreted and represented by its makers. When
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
When I was in Berlin in February this year the film Yasukuni was being screened during Berlinale. I didn't pay much attention to it. Yasukuni is a familiar issue for Japanese like me. I could easily
Although the immediate reason why Jacques Rozier's Du côté d'Orouët (1973) and Raymond Depardon's Empty Quarter: A Woman in Africa (1983) are being included in the traveling Jean Eustache retrospective
Often we are allowed only a trace of the warriors' amazing feats. We do not see the action so much as glimpse it." -David Bordwell, "Richness through Imperfection: King Hu and the Glimpse" From
Above: Not Du côté d'Orouët, but rather a film that it greatly resembles and is influenced by, Jean Rouch and Edgar Morin's documentary Chronicle of a Summer (1961). Jacques Rozier is a name few American
Cinema is an unhappy art as it depends on money... -Andrei Tarkovsky