Every day, walking up and down the main street of my town, I’d only have eyes for the cinemas, three that showed new films and changed programmes every Monday and Thursday, and a couple of fleapits with older...
“Are the characters responsible for the emotions which destroy them? This is a secret that belongs to the heart and is the constant wonder of Day of Wrath.” With remarkable precision, Tag Gallagher extracts the passions that lie at the heart of Dreyer’s films.
This article examines the representation of history in ‘Fifth’ and ‘Sixth’ generation Chinese cinema, in particular that of Zhang Yimou’s To Live and Chen Kaige’s Farewell My Concubine in contradistinction to Jiang Wen’s In the Heat of the Sun and Jia Zhangke’s Platform.
Commissioned to celebrate the 60th Anniversary of the Cannes Film Festival, this article reflects on the relative merits of the many short films contributed by noted international filmmakers such as Wong Kar-wai, David Cronenberg, Roman Polanski, Jane Campion and Tsai Ming-liang.
How much did Pauline Kael’s 1980 New Yorker review of The Chant of Jimmie Blacksmith have to do with establishing director Fred Schepisi’s name outside the confines of Australia? This article looks at the ways critics shape and reshape the reputation of a film.
Following the acclaimed The Year My Voice Broke, Flirting was John Duigan’s second instalment in a proposed trilogy featuring Noah Taylor in the role of Danny Embling. It also stars Nicole Kidman and has much to say about gender, race and colonial attitudes.