Whitney Biennial 2012
David HudsonA roundup focusing on the film program, particularly on new work by Luther Price and Werner Herzog.
A roundup focusing on the film program, particularly on new work by Luther Price and Werner Herzog.
Also: Universal @ 100. James Toback’s “totally unusual, inventive” movie and more.
Among the other filmmakers presenting new projects are Quentin Dupieux, Alexei Popogrebski, Ruben Östlund and Aktan Arym Kubat.
"The finest Western you'll see this year is set in aristocratic 16th-century France, in the heat of Counter-Reformation," declares Nick Pinkerton. Segueing into his interview with Bertrand Tavernier
"A movie out of time and yet distinctly of ours as well, Meek's Cutoff appears in theaters as if in rebuke to our current cinema," begins Elbert Ventura at Slate. "Coming after an awards season in which
This is not your father's Western. One of the things I like about the poster for Kelly Reichardt’s new film, Meek’s Cutoff, is that it isn't quite what you'd expect and it lets you know that
Every now and then, Isabelle Huppert is suddenly everywhere and here we are again. She's on the cover of the new Film Comment and she's in the news: Just yesterday, the Playlist's Christopher Bell
"Meek's Cutoff is an act of inversion, a western that reverses the genre's traditional forms and dynamics to create something new and startling, yet still familiar." On Slant's 4-star scale, Nick
0639 Caves of Forgotten Dreams (Werner Herzog, USA) If you’ve been waiting for a truly creative, for a truly auteur use of 3-D, here it is. (And now maybe we can forget about
Notes on some of the most interesting competition titles that screened at the Venice Film Festival this year, which wraps with its award ceremony today. A very strong Competition lineup that proves
"This is a film whose story turns on one character's offer to repair another's shoe, the implications of this small act weighted so as to hold you in hushed fascination through every stitch," writes
For the second year in a row, the Babylon theater in Berlin is presenting a series of American independent films, 22 this time around, ranging widely in genre, style, means of production and, for that