He's Got the Power of Love Over Me
Daniel KasmanOdes to psycho-sexual fixation: Images: Gregory Peck and Jennifer Jones in King Vidor et al.'s Duel in the Sun (1946); cinematography by Lee Garmes, Ray Rennahan and Hal Rosson
Odes to psycho-sexual fixation: Images: Gregory Peck and Jennifer Jones in King Vidor et al.'s Duel in the Sun (1946); cinematography by Lee Garmes, Ray Rennahan and Hal Rosson
There is a terrific little movie poster exhibition on view right now at New York’s Museum of Modern Art, running in conjunction with the Film Department’s essential retrospective Weimar Cinema, 1919
It is one of the miracles of cinema that Manoel de Oliveira, who made his first film nearly 80 years ago, in 1931, is still working, and making some of the best films of his career at that. And next
A couple of weeks ago there was a lot of buzz about the fact that this rare teaser poster (the only one known to be in existence) for the 1935 The Bride of Frankenstein was poised to break the world
Anna Karina behind the scenes of Jacques Rivette's La religieuse (1966). Rivette has turned over his archives to the Cinémathèque française. Click here for a scan of a written interview transcript
At its essence, White Material is an exploded chamber drama. A Haneke-style family unit (complete with a brutally bored son) holed up mentally, emotionally, economically and geographically encounters
While starting to gather up the best movie posters of the year and looking for anything I might have missed I came across these two canny posters for a documentary I had never heard of (even though it
While skipping around looking for a scene from Raoul Walsh's Gun Fury (1953) I found this nice collage of artifact corruption which entwines an image of Phil Carey roping Donna Reed with an image of
Katherine Hepburn and Cary Grant. From everyday_i_show via @nevverdaily.
From top to bottom: Jean-Luc Godard's Numéro deux (1975); Robert Hossein's The Wicked Go to Hell (1956); Abel Ferrara's Chelsea on the Rocks (2008); Nobuhiko Ôbayashi's The Adventures of Kosuke
Maurice Tourneur's Carnival of Sinners (1943); cinematography by Armand Thirard.
A publicity still of Anna Baldaccini's breasts, from Jean-Luc Godard's Sauve qui peut (la vie) [Every Man for Himself], a film about capitalism, prostitution, objects, commerce, and making movies. Sauve