Ways to End a Movie #2
Daniel KasmanThe hero attempts to shoot out the sun in Fritz Lang’s The Tiger of Eschnapur.
Fritz Lang
-
-
Daily Briefing. Welles's "Heart of Darkness"
David HudsonAlso: Owen Hatherley on Patrick Keiller, Cavett on Groucho, Scorsese’s storyboards and more.
-
Daily Briefing. New Film Comment, News, Photos and More
David HudsonSpringtime festivals announce lineups, Woody returns to acting, rare Spartacus photos surface and more.
-
Daily Briefing. ECM Remembers Angelopoulos, Greenaway in Venice, More
David HudsonAlso: Protecting Germany’s nitrate archives from the Explosives Act. The films that changed directors’ lives. And more.
-
“I am a patriot of the 20s”: An Interview with Alexander Kluge
Candace WirtA discussion with one of the leading founders of New German Cinema, upon the release of his films on DVD and his 80th birthday.
-
Daily Briefing. Béla Tarr, "Swoon" @ 20 and Catherine Robbe-Grillet
David HudsonAlso: Farocki, Amos Poe, Tuesday Weld and Anthony Perkins, Barbara Hammer, Fritz Lang and a busy season for admirers of Sherlock Holmes.
-
Daily Briefing. Movie: A Journal of Film Criticism 3
David HudsonAlso: Sight & Sound’s Gilbert Adair archive, new restorations from the National Film Preservation Foundation and more.
-
Daily Briefing. That Hitchcock and Tippi Hedren Story
David HudsonAlso: David Fincher on the embargo brouhaha. Charges against Lars von Trier dropped. And more news and goings on.
-
Daily Briefing. Lynch in Paris and Moby Dick in Space
David HudsonAlso: Acid Westerns, Friedkin interviews Lang, Woody Allen goes long and more.
-
Image of the day. From Fritz Lang's "The Big Heat" (for Raúl Ruiz)
Daniel KasmanFrom Fritz Lang’s The Big Heat (1953); featuring Gloria Grahame; cinematography by Charles Lang.
-
Witnesses in Stone
Candace WirtThe little-known connection between Fritz Lang and New German Cinema master Alexander Kluge.
-
These Walls of Theirs: Fritz Lang's Tiger Epic
Daniel KasmanCutting off his ties to Hollywood with the blade-bare sinistry of Beyond a Reasonable Doubt (1956), Fritz Lang returned to Germany in the late 1950s to make the final two features of his career, both