Author Hamish Ford

The image, no longer just aurally but visually, becomes firstly a question, and secondly, a critique.    – Nicole Brenez Godard is too Bazanian to commit himself to the loss of “reality”, which is replaced ...

I fully admit to having trouble with nostalgia – in life, but especially on film. So searing is the “real” version, I find, it has to be at least partially repressed. Nostalgia’s screen portrayal, meanwhile, ne...

Andrei Tarkovsky’s epic film about Andrei Roublev, Russia’s most famous icon painter, is a remarkable, deeply reflexive examination of the artist’s role in his particular social-historical reality. It is also c...

This is a compact, dense, magisterial book. The scholarly coverage and detailed analysis of select sequences from films, television and new media art, plus extensive commentary on scholarly film criticism and t...

Colin: Does that... mean anything to you? Warok: Are you the... the author of this amusing message? Colin: I'm the messenger. Warok: The messenger. I see. You see... I think that this is all a joke... of you...

The Round-Up (Szegénylegények, Hungary, 1966) offers an early distillation of the qualities for which Miklós Jancsó soon became an acknowledged master of modernist world cinema. The Hungarian director’s form of...

Cinema today should be tied to the truth rather than to logic. And the truth of our daily lives is neither mechanical, conventional nor artificial, as stories generally are, and if films are made that way, they...

In the late 1960s Ingmar Bergman was not a particularly fashionable figure, despite having made the astonishing and experimental Persona in 1966 (now one of the most respected films of postwar European cinema)....

Deux ou trois choses que je sais d’elle (Two or Three Things I Know About Her, 1967) is a very special entry in the remarkable filmography of Jean-Luc Godard, a figure I believe Geoffrey Nowell-Smith is justifi...

Glorious. That is the word I would use to describe Les trois couronnes du matelot (Three Crowns of the Sailor, 1983), Raúl Ruiz’s French feature from 1983, both in aesthetic construction and its elusive-yet-fam...

Directed by the unique figure of Luchino Visconti – heir to one of Milan’s richest families, a communist, and gay – Rocco e i suoi fratelli (Rocco and his Brothers) was one of three huge Italian films released ...

Andrei Tarkovsky’s epic film about Andrei Roublev, Russia’s most famous icon painter, is a remarkable, deeply reflexive examination of the artist’s role in his particular social-historical reality. It is also c...