Each side of George Cukor’s The Women is designed to defend against the other. The calculatingly cynical side, a flock of society matrons yapping homilies about how to use men, and how naughty they are
"Given all the gene-mapping and cloning these days," begins New York's David Edelstein, "you'd think movies would be lousy with Frankenstein scenarios and cautionary tales in which technology outpaces
To celebrate the Le cinema d’Agnès Varda, the virtual retrospective currently running on The Auteurs, I thought I'd take a look at Varda’s career in posters. With the recent announcement that the eclectic
The Perils of Specificity, and Vice Versa; or, how to get your own Two-Minute Hate session at Big Hollywood: Our discourse these days is such that having a morally correct position isn't nearly enough;
"Having long become a subgenre of its own, war stories viewed through children's eyes have a special place in Italian cinema," writes Fernando F Croce. "From the raw sorrow of Roberto Rossellini
Photo by Fabrizio Maltese/EF Press/fabriziomaltese.com. One of most exhilarating moments for us in Cannes a few weeks ago was announcing, side by side with the filmmaker herself, that the work of
When Maigret met Magritte. I'm not, in seems, the first to compare Jean Renoir's La nuit du carrefour (The Night at the Crossroads) to Carl Dreyer's Vampyr. It's an odd congruence—Renoir's film is a
"Cinema is the art of appropriation — whether taking that which is before the camera or that which has already been filmed." J Hoberman in the Voice: "We'll never know who first discovered the
What you are listening to: A little medley from some of the films playing for free in our festival of Cannes selected favorites. Go here to see what films are viewable for free in your area. "Titoli
"Disco and Dantean inferno, Pablo Larraín's Tony Manero portrays a dead-eyed survivor who is 'stayin' alive' during the bloody years of Augusto Pinochet's regime in Chile." James Quandt for Artforum
The jury spoke in Cannes, and now it's your turn. We've extended the deadline for short film submissions in the Cannes à la Flip contest until Sunday, June 6, 2010 so that the MUBI and Flip video communities
Classic actors don't always act in classic films. That's a relatively unarguable cinematic truism. We all know that, indeed, they sometimes act, quite frequently, in pretty terrible films. One need not