Author Darragh O’Donoghue

What are the right words to discuss this? - Stephen Dwoskin on Gregory Markopoulos Advance Guard artists are so far in advance of their audiences that they often have to explain what it is that they are doing...

Lottie Lyell had her work cut out when she agreed to appear as the love interest of The Sentimental Bloke (Raymond Longford, 1919). The film was, and has usually been admired, as a bloke-ish affair. Its reputat...

In 1968, Juraj Jakubisko, a graduate of Prague’s legendary FAMU film academy and recent employee of the Laterna Magika theatre, presented his adaptation of Waiting for Godot (Čekají na Godota, 1965) at the Inte...

Jacques Audiard’s Les Olympiades (2021) is adapted from three stories by beloved Californian comics artist and illustrator Adrian Tomine.  At every point the comics and their film adaptation intersect, Audiard ...

b. 26 February 1937, Bombay, British India d. 1 March 1994, Bombay, India ‘No event of any importance in India is complete without a goof-up’ - Ramachandra Guha Prologue It is one of the most famous moment...

b. 26 February 1937, Bombay, British India d. 1 March 1994, Bombay, India ‘No event of any importance in India is complete without a goof-up’ - Ramachandra Guha Prologue It is one of the most famous mome...

A jungle in Thailand at night, filmed in one long shot. There are the murmurs of nature. Lights flash onto a clearing - the spotlights of a film crew. A pop song begins; a woman in white shuffles centre stage f...

At first it looks like we’re in for a Soviet Butch Cassidy and the Sundance Kid. A group of Red Army soldiers and a young woman on a farm celebrate the end of the Civil War, clown around, laugh, dance, shout. T...

What happens when the use of pop music is neither celebratory nor liberating? When it is the soundtrack to emotional pain and social oppression, and may be said to contribute to, or even generate such pain and ...

Qinawi, the anti-hero of Youssef Chahine’s international breakthrough, is introduced into the main narrative by indirection. First, the ‘lame’ newspaper seller at Cairo Central Station is presented through the ...

From its first screening at the Cannes Film Festival in 1994, it was clear how deeply Through the Olive Trees was embedded in the past. It was the third and final part in what has come to be known as the Koker ...

In 2014 India elected Narendra Modi Prime Minister with a landslide.  A right-wing Hindu fundamentalist and former member of the elite, fascistic Rashtriya Swayamsevak Sangh paramilitary organisation, Modi has ...

I was the magician’s apprentice … I was his psychotic sidekick, the boy wonder to murder’s masked man. This may read like a lurid Nick Cave fairytale, but it is in fact an extract from Etceteracide, an unpubli...

Much of the visual lexicon we associate with the term ‘Kafkaesque’ was established by Orson Welles’ adaptation of The Trial (1962) and Pavel Juráček and Jan Schmidt’s Postava k podpírání (Joseph Kilián, 1963), ...

Max Ophuls has been called a humanist director, but if we define humanism as referring to the centrality of human activity to the universe, then he is the least humanist of directors. Characters in his films ma...

Cold War-era WR: misterije organizma (WR: Mysteries of the Organism, Dušan Makavejev, 1971) sets West against East with two opening sequences. In the first, Tuli Kupferberg shambles into a New York street and p...

The Mercenary is the most loveable of all spaghetti westerns. ‘Loveable’ is probably not an appropriate adjective for a subgenre that isolated, decontextualised, re-contextualised and exaggerated select element...

Shadows (John Cassavetes, 1959) is full of shadows, but the murkiest shadow cast is that of race. Famously, its precursor was an improvisation session at the theatre workshop John Cassavetes ran in the mid-1950...

It is tempting to see the title characters in Husbands (1970) as older versions of the trio in John Cassavetes’ breakthrough film, Shadows (1959) – aimless New Yorkers indulging in noisy horseplay, haplessly pi...

Oliver Cromwell was the 17th century leader of the English Parliamentarians who overthrew and beheaded a monarch and instituted a short-lived republic; when he sat to Samuel Cooper for his portrait, he insisted...

Kenji Mizoguchi’s Miss Oyu suffocates in the aura of high art and good taste. Based on a novella by Japan’s most revered 20th century writer, it features opening credits over paintings of clouds; compositions f...

Lewis Carroll’s Alice revolts against the volatile world of Wonderland by literally bringing the whole house of cards down. Not only does she go on a dangerous journey, she also returns to tell the tale. If Ali...

Hardened fans of the action movie often deplore the inclusion of a love story.  It disrupts the narrative, they protest, and is only driven by commercial imperatives (the action film too commercial?!).  But the...

 “-“ “The remarkable dash”, as Éric Rohmer called it. A simple grammatical break becomes the rupture in which an “unspeakable” and “unthinkable” crime is committed. The dash, which occurs barely three pages in...

In 1957, two young critics from Cahiers de cinéma published a study of Alfred Hitchcock, drawing attention to the artistic and moral complexity of a filmmaker previously classed as a mere entertainer. Among the...

Big Deal on Madonna Street is such a great, catchy, and memorable title that you would hate to lose it. It was the third (at least) tried out by the film’s English-language distributors after Persons Unknown an...

Flight of the Red Balloon was part of a planned series of films made in collaboration with the Musée d’Orsay in Paris to celebrate the museum’s 20th birthday. Although Jim Jarmusch and Raul Ruiz were initially ...

Werner Herzog began Woyzeck within a week of shooting Nosferatu, phantom der nacht (Nosferatu the Vampyre, 1979) in Moravia with the same crew. It is tempting to read the pair as complementary masterpieces. One...

Bill Morrison deals with the physical – the feel and look of decaying nitrate film. Yet still, his admirers insist on finding the metaphysical in his work. In fairness, Morrison wryly steers viewers in that dir...

The problem with repasts is that, as nourishing and social as they can be, someone has to prepare them.  And – even worse – to clear up after them.  Michiyo Okamoto (Setsuko Hara) is the heroine of Naruse’s Rep...

Bombay cinema was my first film passion – starting with the Hindi film records our Indian neighbour constantly played when I was a child in late-1970s Dublin. Long before I was initiated into the mysteries of M...

Despite its alternative title (Montparnasse 19), Les Amants de Montparnasse (1958) actually charts the last years of Modigliani’s life (from late 1916 to 1920), and includes many salient “facts” of that life, i...

A teenager sits in class, barely listening to a lecture on classic French literature. The student begins the film actively political, taking part in demonstrations against an oppressive social order, thriving i...

Du côté de la côte (1958) is easily dismissed as a frothy travelogue; Agnès Varda herself refers to its “touristy” images (1). Like her previous short, Ô Saisons, Ô Châteaux (1958), it was commissioned by t...

The opening frames of Peter Weir’s film contrast the natural permanence of Hanging Rock with the man-made elevation of Appleyard College. This has led viewers to read the immutability of the Australian landscap...

“Now that I’m somebody, I’d much rather be nobody” sighs the title character, Lulu (Janie Marèse), of Jean Renoir’s La Chienne (1931) to her pimp Dédé (Georges Flamant). She has become an unlikely “somebody” by...