Below: Jean-Louis Barrault in Jean Renoir's Le testament du Docteur Cordelier (1959); cinematography by Georges Leclerc. Below: Denis Lavant in Leos Carax's Merde, part of Tokyo! (2008); cinematography
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
"As soon as you make a theory, facts destroy it."”– Jean Renoir Jean Renoir is not "elegant." Jean Renoir was never a "master." Though he could be gentle when he needed to, he was never genteel. Jean
"An extra folded into Film Forum's all-35mm, month-long celebration of The Newspaper Picture (April 9 through May 6) celebrates the brashest, cleverest motor-mouth newshound to ever slang a source
"Revived for a week at Film Forum in an excellent restored print, The Prowler (1951) may be the creepiest of classic noirs," writes J Hoberman in the Voice. "Joseph Losey's hard-to-see third feature
In “Ways of Love” three vignettes directed by three top film makers add up to the year’s best foreign release. Marcel Pagnol’s “Jofroi” is about a senile farmer (Vincent Scotto) who shams suicide
You get the weirdness of this picture right off the bat. After the opening credits, white type above images of surf colliding with rock, there are three establishing shots, like so: we're at a Coast
Above: Kristen Stewart and Jesse Eisenberg take a break at Adventureland. I thought of the new wave of Taiwanese films that began in the 1980s and peaked around the time of Hou Hsiao-hsien's The Puppetmaster
Documentary is the falsest sort of cinema. Reality has value only when it is transposed…