The Forgotten: Lady Killer
David CairnsJean Grémillon's Gueule d'amour (Lady Killer) of 1937 is almost an archetypal French film of its period. It uses North African colonial settings, like Pepé le Moko. It features the French foreign legion
Jean Grémillon's Gueule d'amour (Lady Killer) of 1937 is almost an archetypal French film of its period. It uses North African colonial settings, like Pepé le Moko. It features the French foreign legion
Sally Potter's Orlando (1992), digitally restored in high definition, is being re-released this summer and sees its premiere today as part of MoMA's retrospective. And for the duration of the series
Nearly two weeks since this year's annual debate over why Hollywood's summer fare sucks (we'll get to that), and nearly a dozen days before its opening, here come the first reviews of what, for
Let's get this out of the way right away, just so we can bounce back from the vulgar and move forward into a more refined realm of cinephilic discourse: Holy s**t. Yes, holy s**t. As in, holy s**t, this
The Criterion Collection's recent releases of Chantal Akerman's early work have given me my first opportunity to see many of the films that established her reputation. The most lauded—Jeanne Dielman
Continued from Part 1. Image: La Dernière lettre (2002). Dmitry Martov: You once called Frederick Wiseman a "modern day John Ford." Olaf Möller: Yes. DM: Is there a modern day Frederick
Early on in Detective Story, there’s a scene where the title character bumps into his secretary on the street. He’s working undercover (which consists solely of an awful wig; he hasn't changed from
"Nowadays, Alberto Cavalcanti is well-known among film history buffs, but otherwise more or less forgotten. This is a shame for a number of reasons, one of them being that he made a handful of
On Earth (1939), Tomu Uchida’s must-see quasi-documentary “official classic.”
"Depending on who's watching, a better title for Great Directors might be A Few Great Directors and Some Highly Competent Ones," suggests Jeannette Catsoulis in the New York Times. "Truth
Sometimes a poster in an online database seems like the last remnant of a lost film. Robert Mandel’s 1983 Independence Day (an “interesting but unfocused little picture” according to Leonard Maltin
Thanks to Neil Young for directing me to the inaugural issue of Camera Lucida, a new multi-lingual film magazine from Montenegro. "Whilst Yugoslav Montenegro could boast of rich film culture, flourishing