Let’s face it: few things look better than Anna Karina in a movie poster. Even Anna Karina in a wimple. We're all familiar with Karina’s most iconic Godard posters—balancing Belmondo and Brialy on her
Photo by Fabrizio Maltese/EF Press/fabriziomaltese.com.
There are few things more thrilling than finding out that an artist you admire or revere has produced a new work that even surpasses what they have done before, and the reports coming out of Cannes
Photo by Fabrizio Maltese/EF Press/fabriziomaltese.com.
OK, so I know Cannes has begun and our minds should be turning to highfalutin auteurist (or should that be mubi-esque?) cinema, but I’m a sucker for sea monsters and so when this showed up on TCM last
Prof. Alvah Jesper (Gary Cooper) and Italian resistance member Gina (Lilli Palmer) in Fritz Lang's Cloak and Dagger (1946); cinematography by Sol Polito.
When Anthology Film Archives ran a retrospective of the films of Robert Kramer last summer they called him “one of the greatest and most committed of all radical American filmmakers.” He is also one
A winter melon, from Jean-Marie Straub and Danièle Huillet's Sicilia! (1999); cinematography by William Lubtchansky, one of the great artists of cinema, who passed away this week at age 73.
A chair from Pedro Costa's Colossal Youth (2006); cinematography by Pedro Costa and Leonardo Simões.
Czech movie poster design often takes a back seat to the amazing Poles, and its golden age (the 1960s and early 70s) was a lot shorter, but in some ways I prefer it. Whereas Polish movie posters are
From Frank Borzage's Street Angel (1928); featuring Janet Gaynor; cinematography by Ernest Palmer.
I recently came across a page on the website of the Cinématheque Française devoted to their eye-popping collection of Japanese posters, many of which I had never seen before. Though there are some striking