Video Sundays: Tunnel Vision
Daniel Kasman(It should be noted—and enjoyed!—that such a recursive path can obviously be diverted at any point, such as the example here which branches off from the 5th video above.)
(It should be noted—and enjoyed!—that such a recursive path can obviously be diverted at any point, such as the example here which branches off from the 5th video above.)
If Resnais made crime thrillers…The grimy smudge in the Alcatraz cell at the onset might be Proust’s “little patch of yellow wall” (The Captive), the dying Bergotte here becomes Lee Marvin’s double
An award magnet, a couple of strong docs and a remake are among the films opening in theaters this week. "Jacques Audiard's febrile, engrossing prison thriller A Prophet opens the way tragedies often
What I love about this new poster for Luca Guadagnino’s I Am Love (Io sono l'amore) is not just its gorgeous typography, but also how it celebrates its lead actress, the incomparable Tilda Swinton. In
Tim Burton's Alice in Wonderland, set to open pretty much worldwide next week, saw its world premiere in London last night. Here's a roundup of first impressions, plus notes on why theaters are ticked
A New Substantiation Of Auteurism: Sometimes the movies that are making money and the movies that are worth talking about are the same movies. Thanks, I guess, in part to myself, and to my esteemed colleague
Remarkable series and events are lighting up the coasts these days. Let's start in New York, with Ed Halter in Artforum: "The dynamic of William E Jones's work lies in the tensions produced between
I admit that I initially grabbed a copy of Clérambard (1969) out of a not-wholly pure interest in actress Dany Carrel, an interesting presence in French movies of the fifties and sixties (she retired
Above: Victor Moore and Beulah Bondi in Leo McCarey's Make Way for Tomorrow. Courtesy of the Criterion Collection. I've spent so much time in and on Yasujiro Ozu's Tokyo Story that I was fairly certain
Anyone looking for a running motif at this year's Berlinale didn't have to look far. Prisons. More to the point, men in prisons — or just out of prison or about to land in prison. In an interview for
Above: The second in New Yorker's "American Premieres" series: April 6-May 10, 1967. In her author photo on the back jacket flap of her book, Toby Talbot is standing outside, leaning against some
"There are few American films as subtle, moving and bursting with human truth as Leo McCarey's Make Way for Tomorrow (1937), and few that have been as unjustly forgotten." So begins one of Dave Kehr