Search Results for: "ingmar bergman"

This two-part essay basically concerns Alfred Hitchcock’s relation to Catholicism. My thanks to Senses of Cinema for allowing its publication over two issues. If it challenges at all Raymond Durgnat’s estimatio...

The emergent arena of film philosophy, or rather “film-philosophy” has, over the last decade, given rise to, in roughly sequential order, a popular discussion list, a series of conferences and some outlying eve...

Colin: Does that... mean anything to you? Warok: Are you the... the author of this amusing message? Colin: I'm the messenger. Warok: The messenger. I see. You see... I think that this is all a joke... of you...

It’s one of the great gags in film theory. Writing in 1969, Cahiers du cinéma editors Jean-Louis Comolli and Jean Narboni devise a seven-part critical typology of the cinema, based on the political or ideologic...

Bad Fit: The Ladies Man (1961) Players and painted stage too all my love And not those things that they were emblems of. William Butler Yeats, “The Circus Animals’ Desertion” What is it to love cinema – bey...

This article interrogates the constraints of micro-budget cinema via a distinctive, non-standard approach to producing, screenwriting, mise en scène and performance in the cinema of Matías Piñeiro. This will ex...

Entries in part 4: Josh Mabe Helen Macallan Miguel Marías Dmitry Martov Neil McGlone Duncan McLean Adrian Mendizabal Mads Mikkelsen David Miller Olaf Möller Brent Morrow Oona Mosna Jorge Mour...

The problem – or rather, a problem – with Pasolini is that he does not fit any one box. A glance at any call for papers for the numerous conferences on Pasolini this year, the 40th anniversary of his death, wil...

This article explores the representation of Cappadocia (Kapadokya in Turkish) in Pier Paolo Pasolini’s poetry and in one of his renowned movies, Medea (1969) , since as Claretta Micheletti Tonetti (2009) states...

When Hollywood came calling to sign both Ingrid Bergman and Gustaf Molander for a remake of Intermezzo (1936), the actress and the director’s reluctance was probably no surprise, considering MGM’s famous diffic...

Feature image: Inherent Vice artwork. Michelangelo Antonioni and Paul Thomas Anderson make for an odd coupling, but as it turns out, they make up the greater part of this issue. The Melbourne Cinémathèque’s...

Feature image: Queen of Earth (dir. Alex Ross Perry, 2015) As a historian of German cinema, I used to cringe when people said, “German cinema? Oh, like Fassbinder, Wenders and Herzog.” As if there were no othe...

It’s a shame that Hollywood audiences have been taught that films are made primarily to entertain and amuse. That’s only for the mass audience; other films challenge us to look inside ourselves, especially the ...

Entries in part 5: Fidel Jésus Quirós Robert Reimer Bérénice Reynaud Stuart Richards Jeremy Rigsby Peter Rist Eloise Ross Julian Ross Miriam Ross Dan Sallitt Maria San Filippo José Sarmiento ...

Halfway through Cinema and Experience, Miriam Bratu Hansen quotes László Moholy-Nagy’s comment: “It is not the person ignorant of writing but the one ignorant of photography who will be the illiterate of the fu...

The first time one attends the Cannes film festival, the overwhelming sensation is one of shock – shock at a world so displaced from one’s everyday existence, with its idiosyncratic codes, Byzantine regulations...

In the late 1960s Ingmar Bergman was not a particularly fashionable figure, despite having made the astonishing and experimental Persona in 1966 (now one of the most respected films of postwar European cinema)....

The times when the North was the place of dragons are long gone. Viking ships don’t sail off the Scandinavian frozen shores anymore. Nowadays Sweden could contend for the title of the friendliest country on Ear...

plunge their characters into all kinds of darkness, where a sense of ultimate self may be found or, more disturbingly, lost. Audiences prepared to meet such daunting challenges would be right to think they are...

By coincidence, the 2013 Toronto International Film Festival began and ended for me with strikingly similar images. The first film I saw, Jafar Panahi’s Closed Curtain, opens with a minutes-long shot through a ...

Prelude “Saraband” is a mournful, heart-wrenching piece of music. It came about during the very short period of time that Bach was free from any religious responsibility in Köthen. In this relaxing, fruitful p...

In preparation for writing about Liv Ullmann’s Enskilda Samtal (Private Confessions, 1996), I took the opportunity to watch Ingmar Bergman’s Nattvardsgästerna (Winter Light, 1963) and Scener ur ett äktenskap (S...

Wendy Everett considers nostalgia and self-reflexivity as two distinctive features of European art cinema, and the exploration of subjectivity and the writing and rewriting of the self as its main preoccupation...

In 2007, when young and talented director Ana Vaz was a student at RMIT University in Melbourne she debuted with the experimental short film Sacris Pulso. At that time, she was personally familiar with the expe...

There were delirious fancies such as the madman fashions. There were much of the beautiful, much of the wanton, much of the bizarre, something of the terrible, and not a little of what might have excited disgus...

Deux ou trois choses que je sais d’elle (Two or Three Things I Know About Her, 1967) is a very special entry in the remarkable filmography of Jean-Luc Godard, a figure I believe Geoffrey Nowell-Smith is justifi...

THE ENTRIES PART ONE Antti Alanen Michael J. Anderson Geoff Andrew Sean Axmaker Martyn Bamber Michael Bartlett Paolo Bertolin Pamela Biénzobas Cis Bierinckx Yvette Biro James Brown...

As an elaborately constructed, compulsively watchable piece of large-scale fiction made for the screen, Fanny och Alexander (Fanny and Alexander) is an achievement with few equals even in this new golden era of...

“What is poetry?” “All that exists in this world. (…) Good and bad. - from Teresa Villaverde’s Transe ”There is beauty in the force of the weak, just as there is obscenity in the force of the powerful.” - T...

b. Shirley Brimberg, October 2, 1919, New York City, USA, d. September 23, 1997, Boston, USA

Sensei (Masayuki Mori) is first seen standing in a doorway, looking down at his wife as she sits embroidering (1). Shizu (Michiyo Aratama) has opened Kon Ichikawa’s Kokoro (1955) in a luminous, enigmatic close-...

Your fearless film critic, Alice, was getting ready to cover the new edition of the AFI Fest which, this year again, was Presented by Audi and offering free tickets to the audiences – the former explaining the ...

An excerpt on one of the masterpieces of 6os cinema from Mary Wiles' forthcoming book on Jacques Rivette, published by Illinois University Press.

Festival Business The opening weekend of the 2011 Toronto International Film Festival also signalled the beginning of TIFF’s second year in the $200 million dollar TIFF Bell Lightbox. The public side of the ...

One night, in the autumn of 1929, Raoul Walsh was driving along a desolate highway in the Utah desert, scouting locations for his next movie. Suddenly, a jackrabbit skittered across the road. Hurtled into the a...

Framed as an introduction to her translation of Serge Toubiana’s tribute, Bérénice Reynaud pays homage to Claudine Paquot, long time head-of-publications at Cahiers.