A matter of miles from Hollywood but a world away lies Watts, Los Angeles. As Thom Andersen observes in Los Angeles Plays Itself (2003): “The 1965 Wat...
When I think about contemporary American cinema there are things to be thankful for and, as with cell phone addiction and social media mania, a good d...
After a modest attempt to create a national film industry in bilingual Belgium had run aground in the 1950s, Belgian cinema was split into two separat...
In the midst of the present devastating economic and social planetary pandemic, the Collectif Jeune Cinéma (CJC) is celebrating its 50th anniversary o...
Few are so beholden to normalcy as the provocateur. Whether satirically or advantageously, the transgressor fanatically attests to the strength of a m...
“Do you burst into tears at the mere mention of the shrinking Amazon rainforests?” the article I’m scrolling through over breakfast wants to know. “Do...
Molly Haskell describes La Vérité (The Truth, Hirokazu Kore-eda, 2019) as “an anxious and lyrical family drama,” noting how it presents “the way in wh...
There is the kind of cinema which reassures people that the world is as they prefer to think it is. That there is some kind of meaning and sense to li...
Giuseppe Rotunno (born March 19, 1923) passed away at the age of 97 on February 7, 2021. Rotunno was a cinematographer whose eye for the frame was esp...
George Romero reimagined the zombie movie when he co-wrote and directed Night of the Living Dead (1968). This was certainly not the first movie about ...
Vanley Burke’s photograph Boy with Flag, Winford in Handsworth Park, 1970 appears in films by two of the most important figures in British cinema of t...
“For filmmakers, it’s simple, we just want to work with great actors and Song Kang-ho is such a great actor that it’s fearful how good he is…”
Bong J...
