And freedom, when everything’s fenced into place? All that Heaven Allows Godard has two answers, at least. Certainly, there’s a worry, as in Oshima and Kubrick movies, that doubling—one character reflected
The First Part Andrzej Zulawski swings his camera like a steel fist. Indeed, right at the start of his first feature, The Third Part of the Night (1971), after a soldier on horse back has ridden right
Atlantic City (Made in USA’s Paris suburb theme park), 1967, and the revolutionaries, like filmmakers, are dreamers. Dreaming, if they’re the nouveaux réalistes or the situationists, of tearing down reality
Looking at The Comfort of Strangers nearly 20 years after its release, and shortly after the death of its screenwriter Harold Pinter, one is, first off, inclined to rue the fact that Pinter and director
2009 has - as we know - only just started, but I for one will be pleasantly surprised if the year yields a more informative, entertaining, skilfully-written piece on cinema than Christoph Huber's interview
Barack Obama lists these films as some of his favorites. We usually think one's personal tastes are an insight into who they are. Do these say something about US' President-elect? (Source: Obama's Facebook
Saul Bass titles on Otto Preminger's Anatomy of a Murder, 1959
Critic, scholar, translator, and all around great guy Paul Fileri writes, among other things, the Sites Specific column for Film Comment. For the Jan/Feb issue, Paul was kind enough to highlight The Auteurs
From Night Train (Poland, 1959); featuring Lucyna Winnicka; directed by Jerzy Kawalerowicz; cinematography by Jan Laskowski. Image courtesy of one of The Notebook's favorite blogs, sixmartinis and the
On Friday, January 9, New York's Film Forum begins a two-week run of Jean-Luc Godard's legendary 1966 Made in USA, the director's final film starring his by-then ex-wife Anna Karina, an off-the-cuff
“Year Zero,” the term from Rossellini, might be Godard’s favorite mantra, signaled in Made in USA, stated throughout the ’70s, and situated neatly in the title of Germany Year 90 Nine Zero, his portrait
I'm mad as hell, and I'll take it a little longer! One of the most basic, but most defining features of David Fincher's short filmography is the relegation of melodrama essentially to a one-note psychic