In accepting his “Best Director” Oscar statuette for The Awful Truth, Leo McCarey famously opined that Academy voters had given him the award for the wrong film (1). In McCarey’s estimation, Make Way for Tomorr...
A detailed analysis of the both the stylistic and thematic continuities, and the fault lines, between the German and Hollywood periods of Lubitsch’s work.
Benning's 13 Lakes is discussed in the light of André Bazin's concept of the ontology of the image and its frame.
Michael Mann's Collateral is an ode to the cool “steel and glass” splendour of Los Angeles, from sunset to sunrise.
Part erotic ghost story, part reflexive commentary on filmic form and narrative, Rivette's latest opus may be his most personal yet.