Search Results for: "Hitchcock"

Film historians have long shown an interest in the economic, technical, and aesthetic aspects of widescreen film formats. When widescreen became popular in the 1950s, André Bazin and other critics at Cahiers du...

The author brings together two seminal films from differing eras that challenge audiences in complex and confronting ways.

In the late 1970s, Catherine Berge’s encounter with both the films and person of King Vidor was a seminal turning point in her life. Here, she talks about her personal history with the director and her 1980 film devoted to him.

“I’m here to make a film about the end of the world... and this seems to be exactly the right place for it.” – Ava Gardner (allegedly) (1) Marguerite Duras’ 1979 short Aurélia Steiner: Melbourne, provides an i...

Stepping off the TGV at Cannes-Ville railway station, and onto the Rue Jean-Jaurès early on a Wednesday afternoon, the sentiment becomes palpable. The heaving throng of people being disgorged from the station e...

Critical study of the oeuvre of Billy Wilder is still surprisingly scant almost a decade following his death. Rather than cogent analysis that reaches beyond the director’s often self-deprecating commentary, st...

In Billy Wilder’s hilariously acid The Fortune Cookie (1966), sports cameraman Harry Hinkle (Jack Lemmon) gets clobbered by football star Luther “Boom Boom” Jackson (Ron Rich) when Jackson is tackled along the ...

By 1997, when the first edition of Joseph McBride’s Steven Spielberg: A Biography was published, its author’s previous subjects included Orson Welles, John Ford, Howard Hawks, and Frank Capra. To add Steven Spi...

Two important figures of the cinephilic landscape left Los Angeles in 2010. One was Rose Kuo, who since 2007 had assumed the direction of the AFI Film Festival; the other was Scott Foundas, film editor of The L...

José Luis Guerin discusses his recent film Guest, based around the year-long itinerary of the director visiting many film festivals and cultures.

Released in 1954, Senso was Visconti’s fourth feature and is recognised as a milestone in the director’s career. Not only did it mark a decisive move away from the neo-realism of Ossessione (1942) and La terra ...

The esteemed director of I Don’t Want to Sleep Alone, Goodbye, Dragon Inn and more recently, Face, reflects on a whole range of subjects to do with his films and, more broadly, the cinema in general.

Linda Ehrlich previews a forthcoming major exhibition based on ‘video-letter’ exchanges between directors such as Jonas Mekas, José Luís Guerin, Alberto Serra, Lisandro Alonso, and others.

Numerous contributors from across the globe offer their selections and thoughts on their movie-going experiences in 2010. Readers should find it a fascinating overview of cinema from a multitude of countries and cultures.

In terms of theoretical scope, the book I currently hold in my hands could hardly be more comprehensive; in terms of ambition, it could hardly be more colossal. With Film, Theory and Philosophy: The Key Thinker...

Towards the end of Pedro Almodóvar’s Broken Embraces (Los abrazos rotos, 2009) – his sad, playful, colour-saturated tribute to his own and so many others’ films – Harry Caine/Mateo Blanco (Lluís Homar) caresses...

Keith Beattie’s monograph on the seminal British documentary filmmaker Humphrey Jennings is a significant contribution to the scholarship on this fascinating, mercurial and multi-faceted artist, as well as on B...

In dreams I walk with you In dreams I talk to you In dreams you're mine all of the time We're together in dreams, in dream –Roy Orbison, “In Dreams” Were dreams the “virtual worlds” of a previous era? Or a...

The Student Prince in Old Heidelberg is one of Lubitsch’s most surprising, nostalgic and emotionally engaging films. It represents a “return to Germany” after four years in Hollywood, and can been as something ...

In his 1993 biography Ernst Lubitsch: Trouble in Paradise, Scott Eyman argues that the term “The Lubitsch Touch” is “as insultingly superficial a sobriquet as that of calling Hitchcock ‘The Master of Suspense’”...

Lawyer: “Those are life’s little difficulties, you see!” - August Strindberg, A Dream Play (1901) When Ingmar Bergman wanted to recreate the late 19th century youth of Isaac Borg in Smultronstället (Wild Stra...

The cinematic legacy of European modernism is both fascinating and elusive. Not least because the term modernism itself means so many things to so many people: David Bordwell’s surrogate “art-cinema narration” ...

During his opening night address that officially set this year’s Revelation in motion, festival chairman Richard Sowada informed the packed auditorium that film was in fact just a small part of the festival, th...

Another Opening, Another Show In Joe Dante’s satirical Small Soldiers (1998), a range of high-tech action figures is marketed under the slogan “Everything Else Is Just a Toy.” Perhaps this year’s Melbourne I...

In this free-form interview the director of A Christmas Tale, King and Queens, amongst others, discusses everything from Truffaut and Godard, Stanley Cavell and disaster movies, Nietzsche and Italo Calvino, Jean Gabin and hip-hop, and more.

Student of philosophy, traveller, actress maudit and filmmaker, Marie-Christine Questerbert, who appeared in Moullet’s Une Aventure de Billy le Kid (1971) and Anatomy of a Relationship (1975), discusses her life and career, and the travails of working with one of France’s more eccentric directors.

Once, and appropriately, Melbourne based filmmaker Leo Berkeley went under the moniker of “last of the independents”. Having shaped a decades-long body of work on the fringes of the industry, he talks at length about the filmmaking principles that inform his work.

On the evidence of this absorbing and articulate interview alone, Dominik Graf is worthy of being better know outside the borders of the German speaking world. He not only offers insights into his own filmmaking practice and aesthetic, but also a range of fascinating observations covering the last forty or so years of German cinema and cultural history.

An apartment, several women, and much angst make up the elements to one of Rainer Werner Fassbinder’s most alluring and contentious films.

As I flipped through the book Dekalog 3: On Film Festivals (1) on my flight to Argentina, the unofficial testimony for BAFICI – the Buenos Aires Festival Internacional de Cine Independiente – as paradigmatic am...

Joseph Losey’s Monsieur Klein (Mr. Klein) is one of the exiled American director’s finest accomplishments. Shot in both Paris and Strasbourg between December 1975 and mid-February 1976, this existential thrille...

Handsome Men and Narrative Holes – Rob Epstein and Jeffrey Friedman’s Howl (US Dramatic Competition) The best thing you could say about the Opening Night film Howl, was that it gave you the desire to (re)rea...

Pioneer Room Rhapsody A slightly cagey throng of greying cinemagoers mill nervously in the lower foyer of Sydney’s State Theatre. Red liveried ushers assure us the theatre will be opened soon. A quick trip t...

A few issues back Senses published Tag Gallagher’s exhaustive career study of producer/director/actor Francis Ford. Picking up the thread, Charles Barr offers a discussion on his acting roles in brother John’s films.

WALDO PEPPER : Do you like movies? MARY BETH : Mmm-hmmm. – The Great Waldo Pepper (George Roy Hill, 1975) … perhaps one must become the films one loves. – Murray Pomerance (1) A moment in Psycho (1960), Al...