Issue 62 | March 2012
The films made and distributed by Luc Besson’s company are, too often, dismissed by critics. Yet they may, argues David Martin-Jones, provide interesting insights into
Max Nelson reflects on the work of one of France’s singular auteurs.
Elia Kazan’s Splendor in the Grass (1961) concerns the problems encountered by two teenagers – Wilma Dean (“Deanie”) Loomis (Natalie Wood) and Bud Stamper (Warren
“East of Eden is more personal to me; it is more my own story. One hates one’s father; one rebels against him; finally one cares
Set in the Jim Crow South, Ford’s depiction of race relations and its attendant moral ambiguities are discussed by Richmond Adams.
Discussion of the New Waves of European national cinemas that emerged after World War II has often focused on those movements’ stances towards American cinema.
Hou Hsiao-hsien’s Hai shang hua (Flowers of Shanghai, 1998) is a film constructed like no other: it doesn’t follow the conventions of gradual and deliberate
Michelangelo Antonioni’s name seems to have fallen somewhat into disrepute in US film culture over the last several decades, his main concerns – alienation and
“We know that under the image revealed there is another which is truer to reality and under this image still another and yet again still
“The films I most eagerly look forward to will not be documentaries but works of fiction, played against and into and in collaboration with unrehearsed