Like Criterion’s magnificent Paul Robeson box set from early last year, it reintroduces us to a performer whose gift was ahead of its time.
Language is only one factor in the film’s negotiation of East and West.
Jia knows that we often understand the world by conferring meaning upon a set of widely shared images and artifacts.
Varda weaves together a film about the communal voice that forms among people.
The film isn’t the prototypical feminist classic chronicling a woman’s journey from submissiveness to assertiveness.
The film emerges as a harsh critique of free love, as well as an empathetic exploration of its allure.
It is in fact difficult to make a film whose basis is conceptual without the results coming off as simplistic or overly designed.
As a multiethnic society, Malaysia bears the influence of both its Malay majority and its strong Chinese and Indian minorities.
Who would deny that the revival of Charles Burnett’s career has been the major film event of the year?
It’s an experimental film that effaces authorship and demands no mental somersaults.
Fei Mu’s 1948 classic, which is a faithful rendition of a short story by Li Tianji, subtly places itself in the context of literary tradition.