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Screenshot from Bitter Lake

Documentaries · Experimental & Underground · Historical & Epic · Reviews

0

“Hundreds of Thousands of Hours of Moments”: On Adam Curtis’s Bitter Lake (2015)

  • March 11, 2015

In a recent interview, the English filmmaker Adam Curtis described finding “hidden levels in the BBC archive” where a vast collection of extraneous footage has been accumulating over the last[…]

Hiroshima Mon Amour

Directors · Documentaries · Experimental & Underground · War

0

Re-envisioning the Postwar Documentary: Alain Resnais’s Night and Fog and Hiroshima mon amour

  • March 6, 2015

Despite the reputation that Alain Resnais has garnered as “cinema’s definitive artist of postwar trauma,” few scholars have undertaken a detailed comparative analysis of his two works that broach this[…]

Screenshot from the F for Fake trailer

Directors · Production History

3

Orson Welles and the Death of Sirhan Sirhan: Part II: The Safe House

  • February 26, 2015

Part I of this article told the story of how Orson Welles, while directing his legendary and never-finished Other Side of the Wind, took time out in early 1975 to[…]

A screenshot of Orson Welles from F for Fake (1973)

Directors · Production History

9

Orson Welles and the Death of Sirhan Sirhan: Part I: The Conspirators

  • February 20, 2015

2015 marks the hundredth anniversary of the birth of Orson Welles. Despite numerous biographies and critical studies, we are still piecing together the full story of his wild and complicated[…]

Fig. 1 Eve (Tilda Swinton) wanders the streets of Tangier in Jim Jarmusch’s Only Lovers Left Alive (2013).

Genres · Horror

0

The End of History in Jim Jarmusch’s Only Lovers Left Alive

  • February 17, 2015

Adam, a vampire and underground rock musician, sneaks down the quiet corridors of a Detroit hospital, dressed in a physician’s scrubs with his face concealed by a surgical mask and[…]

In her Summit keynote speech, Angelina Jolie aimed her weapons straight at the rapists. (Lara Croft: Tomb Raider)

Activist & Political · Actors & Personalities · War

2

The Shame Is on the Aggressor: The Image of Rape in Films About Bosnia and in the Films of Angelina Jolie

  • February 13, 2015

Angelina Jolie may be among our best hopes to end the cruel and vile practice of mass rape in conflict. She has a bully pulpit as a rich and famous[…]

A screenshot from Le Deuxieme Souffle

Crime · Directors · Noir

3

Jean-Pierre Melville’s Noir Improvisations: Two Men in Manhattan, Le Doulos, Le Deuxieme Souffle

  • February 9, 2015

First daring and experimental in an era of conformity, then classical in the age of the new wave, and finally nuanced and introspective when fashionable tastes ran radical and revolutionary[…]

Directors · Drama · Reviews

1

Dreams and Visions: Ingmar Bergman’s Kvinnodröm (Dreams) (1955)

  • February 3, 2015

A self-confessed conjurer, Bergman’s films are tricky in every sense. What makes these movies so difficult is what makes life itself difficult – the overwhelming desire to know the unknowable,[…]

A scene from Mouret's Une autre vie (Another Life, 2013)

Directors · Interviews

2

Comic Melancholy: A Brief Chat with Emmanuel Mouret

  • February 1, 2015

My characters try to do the right things, but their feelings, their desires drag them somewhere else, so that they have to “negotiate” with themselves. And that interests me because[…]

Émilie Dequenne as Rosetta

Drama · Reviews

0

Rosetta: Learning to See

  • January 28, 2015

Now she is finally able to “see” him back, to acknowledge the impact of her actions on another who cares for her, to accept their mutual obligations, and to entertain[…]

Drama · LGBT & Queer · New Media

4

Bringing Ira Sachs’ Love Is Strange into Focus

  • January 23, 2015

“Let us try to focus all our energy and all of our love on these two men, George and Ben.” “Always, always, you must focus on the instrument you are[…]

Joaquin Phoenix as Larry "Doc" Sportello in "Inherent Vice." (Courtesy of Warner Bros. Pictures, Wilson Webb)

Directors · Drama · Reviews · Writers & Critics

6

Peace Out and Fuck You: Paul Thomas Anderson’s Inherent Vice

  • January 20, 2015

That Anderson chose to adhere so closely to the novel indicates a lack of desire to transform or elevate the work, and, regardless of whether or not this was motivated[…]

Essays · New Media · SF & Fantasy · Writers & Critics

0

Spike Jonze vs. the Conspiring Escapist: On Her, Robert Coover’s Universal Baseball Association, and Jan Švankmajer’s Conspirators of Pleasure

  • January 16, 2015

“What Jonze, Coover, and Švankmajer are all playing with in their distinctive, varying shades of dark humor are the dual perspectives of the Spielbergian audience, absorbed in the protagonists’ fantasies,[…]

Figure 1: "The 'state of decay' shown in this footage is cause for concern"

DVD & Blu-ray · Experimental & Underground

0

Dread Mechanics: The Sublime Terror of Bill Morrison’s Decasia (2002)

  • January 14, 2015

Decasia is a “horror film” in which the horror it presents as the corruption imposed by time on what people create is also an unavoidable part of the world we[…]

Horror

5

The Return of Repression: How Jennifer Kent’s The Babadook Undoes Itself

  • January 12, 2015

The Babadook presents a normative vision of what it believes is a stable, happy existence, one in which if our emotions are difficult to bear, we simply lock them in[…]

Jennifer Kent's The Babadook

Horror · News

3

What It Says About The New Republic If They Don’t Understand Horror Films

  • January 8, 2015

The continuing attention being showered on Jennifer Kent’s 2014 The Babadook from horror luminaries such as Stephen King and William Friedkin has prompted some impressive critical writing, while simultaneously anchoring[…]

Ann Sheridan, Richard Travis, Bette Davis, Monty Woolley

Comedy · Reviews

5

“I Never Felt So Much Like Christmas in All My Life”: Why You Should Make a Date with The Man Who Came to Dinner

  • December 28, 2014

Sometimes, the personal angle offers the clearest view. Now and then, the authorial “we” must be abandoned in favour of a more open-handed, first-person approach. Therefore, I’ll begin by saying[…]

Ralph Richardson and Denholm Elliott in The Holly and the Ivy

Drama · Essays

2

Home Is Not Just for Christmas … or Thanksgiving … or Middle-Class Chaps, However Decent

  • December 25, 2014

To be clear, The Holly and the Ivy is not mistakable for a lost gem from Renoir or Mizoguchi. Yet it does make the most of a story told “in[…]

Directors · Essays

1

The Melancholy of Alex Proyas: Seeking Transcendence in an Epicurean Age

  • December 23, 2014

Introduction This essay uses The Crow, Dark City, and Knowing to trace director Alex Proyas’ repeated thinking through of a philosophical problem using a stock of images that derives from[…]

The advertising campaign for The Sign of the Cross gave the impression that Paramount Pictures was having a gay old time. This film was the first in Hollywood history to feature homosexual characters in its ads; they were painted by Dan Sayre Groesbeck.

Directors · Film Technology & History · Historical & Epic · Pre-Code · Religion & Spirituality · Silents

5

The Wickedest Movie in the World: How Cecil B. DeMille Made The Sign of the Cross

  • December 18, 2014

This post was adapted from the new book by Cecilia de Mille Presley and Mark A. Vieira, Cecil B. DeMille: The Art of the Hollywood Epic (Running Press, 416pp, December[…]

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