In a rare 1967 monograph, now long out of print, the Italian director Valerio Zurlini published a poetic account of an evening in the company of the great painter Balthus (Balthazar Klossowski, 1908-2001), ...
Tag Gallagher notes that Pedro Costa describes his film on Danièle Huillet and Jean-Marie Straub, Où gît votre sourire enfoui?, as “anti-Straubian”. Gallagher offers a vibrant discussion of Costa’s cinema via the Straubs, and the Straubs’ cinema via Costa’s.
An insightful discussion of one of the great films of the Czechoslovak New Wave. A work greatly admired by the Quay brothers, The Cremator’s recent release by Second Run DVD has, justly, exposed Herz’s classic film to a new generation of critics.
Ridley Scott’s film reaches its first milestone. David Ryan charts its critical history, the various interpretations of its thematics and director’s revisions of the film. It has been a moveable feast indeed.
Like many of his collaborators, filmmaker Jackie Raynal was present at the Cinémathèque Française’s memorial homage to Rohmer earlier this year. Sparked by the occasion, she looks back at her time with Rohmer in this heartfelt reminiscence.
A landmark interview originally published in Cahiers du cinéma in 1970. The journal was in the midst of its Marxist/Leninist era, while Rohmer's Bazinian idealism was vindicated by the success of My Night at Maud’s. A fascinating joust between two entirely opposed views of the cinema
Rohmer was himself a private and reserved individual who, more often that not, shunned the spotlight. Bruce Perkins examines three documentaries on the filmmaker, and concludes that together they offer as vivid and multi-dimensional a portrait of Rohmer as we can wish for.
In both content and form, a strong pedagogical endeavour has informed the work of Rohmer throughout his career. Darragh O’Donoghue discusses this inclination, focusing on some of the earlier shorts and made-for-television documentaries.
The topographical tracings of Rohmer’s feature debut reveal a dual motif: the cartographic and the photographic. Roland-François Lack’s insightful essay meticulously traces the unfolding of this dual motif.
Love, morality, fidelity and chance crystallised around Pascal’s ‘wager’. Taken by many to be the key film of the ‘Six Moral Tales’ series, the fascination of this film has not receded with time. Constantine Santas unravels the film’s thematics.
“Robert Bresson began as a painter and, while he would rarely practice the art, it was a guiding force in the development of his unique film style.” Doebler argues the case for Bresson’s debt to painting and Cézanne in particular.
“This essay is a return to the scene of the crime.” The author of Hitchcock and 20th Century Cinema re-evaluates his low opinion of Stage Fright, and discovers that the affinities between Hitchcock’s cinema and the philosopher David Hume run far deeper than he had first imagined.
Alfred Hitchcock’s film of John Buchan’s novel, The Thirty-Nine Steps, was one of his most successful, and he repeatedly used the story template in other films, such as North by Northwest. But Hitchcock showed little empathy for Buchan’s ideology.