Search Results for: "robert altman"

Towards the end of Frederick Wiseman’s National Gallery, a carpenter working in the eponymous London institution hesitantly holds forth on the ins and outs of his métier – carving picture frames from ebony. Mor...

Paris, Texas (1984) is a story about the prodigal son and his uneasy homecoming. It is also, among other things, a road movie, a modern Western, a near textbook perfect example of what an “art film” can be rath...

“Most of the filmmakers I cover don’t get paid to make their films, so why should I expect to get paid to write about them?” – Michael Sicinski To get straight to the point: if the 2014 International Film Fest...

THE ENTRIES PART 1 Francisco Algarín Navarro Victor Alicea Michael Anderson Geoff Andrew Julian Antos Armas Miguel Charlotte Aumont Sean Axmaker Martyn Bamber Mike Bartlett Raphaël...

Introduction This article discusses one way Malaysian-Australian James Wan (b. 1977-) (1) can be considered or constructed as an author. Wan is best known for the film Saw (2004), which he co-wrote with Leigh ...

It’s taken almost four decades to bring you Nick’s last full-length film We Can’t Go Home Again, and not for lack of trying. Why so long? We couldn’t find the funds. We didn’t need much compared to what most mo...

It is always ‘before the Revolution’ for us, sons of the bourgeoisie. – Bernardo Bertolucci, Prima della rivoluzione (1964) Invited as Guest Artistic Director by the 2012 AFI FEST presented by Audi, Bernardo ...

Not long after joining the staff of The New Yorker in 1968, Pauline Kael wrote a review of Butch Cassidy and the Sundance Kid (George Roy Hill, 1969), the popular western starring Paul Newman and Robert Redford...

“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 another under this last one, right down to the true image of that reality...

Barbarosa (1982) was the first feature to be made in America by any of the key figures of the Australian film “renaissance” of the 1970s. It sits alongside the initial American films of Gillian Armstrong, Bruce...

Jean Baudrillard’s encounter with cinema, and cinema’s encounter with Baudrillard’s thought are the twin subjects of this extensive discussion of American cinema of the 1970s and beyond.

Often seen as the figurehead of the so-called “mumblecore” cineastes, Joe Swanberg discusses the aesthetic and technological practices that inform this indie phenomenon.

Set in a Franco-era Spain that has made only the barest of concessions to modernism (there are telephones and cars), but remains fully locked down under Catholicism at its most patriarchal and reactionary, Luis...

“Knock on Any Door looks like a throwback to the socially conscious gangster movie of the 1930s… the resurrection of a dying genre.” - Bernard Eisenschitz (1) “In some respects, Knock on Any Door conforms to ...

N. B. Those who wish to avoid prior knowledge of the story, particularly its climax, should put off reading these notes till after seeing the film. Hopefully, then, they will want to see the film again! When...

For two years running I've attended the Fribourg International Film Festival. The timing of my engagements with the festival has been propitious; it strikes me that the FIFF is a festival just now coming into i...

Numerous contributors from across the globe offer their selections and thoughts on their movie-going experiences in 2010. Readers should find it a fascinating overview of cinema from a multitude of countries and cultures.

In January 2010, Michael Winterbottom’s The Killer Inside Me premiered at the Sundance Film Festival, the first in several stops on the festival circuit before its theatrical release in June of that year. With ...

In Conversations with Directors, Elsie Walker and David Johnson bring together a collection of 26 interviews with a wide range of directors from various periods, nationalities, and backgrounds. The interviews a...

On the evidence of this absorbing and articulate interview alone, Dominik Graf is worthy of being better know outside the borders of the German speaking world. He not only offers insights into his own filmmaking practice and aesthetic, but also a range of fascinating observations covering the last forty or so years of German cinema and cultural history.

In their our words a number of individuals closely associated with the Berlin School offer a informed panorama of ideas regarding the history, aesthetics and cultural politics of a ‘movement’ that offers much to a new understanding of contemporary German cinema.

Visiting foreign observers to the Republic of the United States of America have always been easily taken with its amber waves of grain and purple mountain majesty; its natural wonders, so to speak. Its people a...

One of the more interesting developments in the cinema of the past 15 years or so has been the surge of mainstream films with complex narratives. Consider Pulp Fiction (Quentin Tarantino, 1994), Eternal Sunshin...

The world of Fellini’s Amarcord is one shaped by the director’s own imagination. Often accused of being an apolitical artist who betrayed neo-realism and cared only about his own personal “playground”, in Amarc...

There is no getting around it, as a director, Dennis Hopper’s name will live on almost exclusively on the basis of Easy Rider. But the authorship of that film is nowhere near a clear-cut proposition, nor its legacy.

Numerous contributors from across the globe offer their selections and thoughts on their movie-going experiences in 2009. Readers should find it a fascinating overview of cinema from a multitude of countries and cultures.

At the centre of McKibbin’s article is a re-evalution of Marlon Brando’s performance as Fletcher Christian in Lewis Milestone’s 1962 production of Mutiny on the Bounty. But there is much else on offer.

This is an edited version of an interview originally published in Filmviews, No. 131 (Autumn 1987), pp. 2-7. It is reproduced with the kind permission of the authors. (1) Richard Lowenstein graduated fro...

In Martin Scorsese’s Cape Fear (1991), Jessica Lange and Nick Nolte are lying in bed discussing the increasingly disturbing harassment they are experiencing at the hands of an ex-convict played by Robert De Nir...

Tony McKibbin examines what he calls the “ontological problem of nudity in Michelangelo Antonioni’s work”. A refreshing focus on an aspect of Antonioni’s films not often discussed in commentaries on his work.

John Gianvito Antony I. Ginnane Stephen Goddard Chiranjit Goswami Kharálampos Goyós Benjamin Halligan Lee Hill Peter Hourigan Brian Hu Christoph Huber Pasquale Iannone Raine...

Acquarello Peg Aloi Geoff Andrew Sean Axmaker Martyn Bamber Michael Bartlett Paolo Bertolin Rochelle Boland Stephen Brower Thomas Caldwell Dan Callahan Michael Campi Ben ...

Ioannis Mookas Bill Mousoulis James Naremore James L. Neibaur Darragh O’Donoghue John Orr Jit Phokaew Bérénice Reynaud Marcos Ribas de Faria Peter Rist James Rose Dan Sallit...

b. 14 May 1971, New York, New York, USA Filmography Select Bibliography Articles in Senses Web Resources Sofia Coppola is a visually stylish film director. Undoubtedly, her self-confessed predilect...

André Crous argues the case for P. T. Anderson as the finest contemporary exponent of the tracking shot in all its varying glory and complexity.

Point Blank (1967 USA 92 mins) Prod: Judd Bernard, Robert Chartoff Dir: John Boorman Scr: Alexander Jacobs, David Newhouse, Rafe Newhouse, from the novel The Hunter by Richard Stark Phot: Philip H. Lathr...