On first glance Ozu's I Was Born But… (1932) is a film about children. For most of the film, we see through the experience – if not the eyes – of two brothers who move to a new town with their family
angels of the night, silverframe my candlelight -from supposed aura
Pop goes the pop. A gangster (Andy Lau) houses a distant cousin he’s just met/ fallen in love with (a yet-to-be beautiful Maggie Cheung) and makes his ambitious protégé (Jacky Cheung) do grunt work selling
Above: Emily Mortimer is taught how to deflect her fear by jujitsu instructor Chiwetel Ejiofor in David Mamet's Redbelt. What I like about David Mamet's movies is how lean and propulsive his characters
In Luc Moullet's essay, Better to Burn Out than to Fade Away: Blue Collar Dandy, Moullet frames Jean Eustache's decision to film his grandmother Odette Robert for Numéro Zéro within the context of the
Above: Sophia Loren foresees the end of the empire. After the Second World War, as Hollywood started creeping out of the studios it retreated into after the introduction of sound, location shooting—the
From Black Test Car (1962); directed by Masumura Yasuzo; cinematography by Nakagawa Yoshihisa:
One of my favorite aspects of the freedom animation gives filmmakers is how the form can so dramatically underline how each and every element in a film is interpreted and represented by its makers. When
Above: Kåre Hedebrant as Oskar, thinking about what we wants to do to his classmate bullies. "Let the right one in" is a delicious phrase referring to the occult rule that a vampire cannot enter someone
When I was in Berlin in February this year the film Yasukuni was being screened during Berlinale. I didn't pay much attention to it. Yasukuni is a familiar issue for Japanese like me. I could easily
Although the immediate reason why Jacques Rozier's Du côté d'Orouët (1973) and Raymond Depardon's Empty Quarter: A Woman in Africa (1983) are being included in the traveling Jean Eustache retrospective