Cluny Brown, this film was Ernst Lubitsch’s last; A paragon of wit and of sophisticated charm… A Nineteen-Forty-Six film gazing into a European past;(’38, to be precise…) A Fox Production with an eclectic
Tolstoy’s Anna Karenina honed to a deadpan highlight reel, Darezhan Omirbayev’s Chouga turns the epic melodrama of cross-country fidelity and infidelity into a languorous, essentialist series of almost
Above: Priscilla Lane, the primary Lane sister, in Varsity Show, 1937. "Were you drunk when I came home the other night?" my wife asked me a few days back. No, I was not, but why do you ask? "Well
Since we have already talked about films in the New York Film Festival in terms of space and in terms of digital aesthetics, perhaps we should combine the two in Antonio Campos boarding school alienation
Above: Xiao Wu (Hongwei Wang) cuffed and exposed in Fenyang. In connection with the Berkeley Art Museum exhibition “Mahjong: Contemporary Art from the Sigg Collection,” Pacific Film Archive has organized
Over the next month, we’ll be highlighting some of the films of the traveling Oshima Nagisa retrospective.Lead provocateur of the Japanese New Wave (which he's always disowned), Oshima Nagisa was and remains
Above: Dick Powell and Joan Blondell, Gold Diggers of 1937.The Busby-Berkeley-ization of the American film musical seems to have flamed out almost as quickly as it caught fire. From 1933 to 1935, in pictures
Above: A digital image of Ana Moreira in The Northern Land. It looks like film festivals are finally starting to show digitally shot films (or shall we more correctly call them videos?) digitally, that
It used to be that Dario Argento films were jam-packed with expressive details. Beginning in the early 1970s, alongside a penchant for intense, deliberate, graphic orgasms of violence, his reputation
Hats off to the New York Film Festival, they’ve actually programmed a short film that I want to see! Chinese director Jia Zhangke, whose feature documentary hybrid what’s-it 24 City (reviewed from the
The most pertinent feature of the recent Eureka!/Masters of Cinema edition of Bruno Dumont's 1997 feature debut La vie de Jesus is a spanking new anamorphic and progressive scan encode. In case
Above: Sally Hawkins, the princess and the gypsy of Happy-Go-Lucky.On the outskirts of Mike Leigh’s blissful Happy-Go-Lucky lie child abusers, stalkers and supremacists, homeless, hairy troglodytes