Cinémathèque Annotations on Film
“People are waiting”: Elia Kazan and America America
Martin Scorsese concludes his A Personal Journey… Through American Movies (co-directed and co-written by Michael Henry Wilson, 1995) with a brief passage from Elia Kazan’s
Identity in Elia Kazan’s Splendor in the Grass
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
“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
American Friend
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.
What is Said and Left Unsaid in Hou Hsiao-hsien’s Flowers of Shanghai
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
L’eclisse
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
The Passenger
“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
Helen Levitt
“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
A Man Escaped
“When one is in prison, the most important thing is the door.” – Robert Bresson (1) Un condamné à mort s’est échappé ou Le vent
Voices With(out) a Face: On Robert Bresson’s Procès de Jeanne d’Arc
“In my Trial of Joan of Arc I have tried to avoid “theater” and “masquerade”, but to arrive at a non-historical truth by using historical
