Directors aren’t the only auteurs.
The Mexican Revolution wasn’t one rebellion, but several.
You could disagree, and claim that a few pop selections help people notice the small stuff. Hopefully.
The Jornada Brasileira de Cinema Silencioso, just completing its fourth year, is one of the world’s most prominent silent film festivals.
A major problem the documentary bio runs into is how to avoid hagiography.
The documentary announces its intentions to uphold its subject’s legacy from the title onward.
Viewership is by nature bisexual.
The people are characters as much as the waves, dresses, paintings, train whistles, and high heels clacking against stone are.
What starts off as noir feels like kids playing around.
If baseball is America’s pastime, then soccer is the world’s.
You get the sense that these are real people who happen to have wandered into a production of Hamlet.
Fatih Akın is a filmmaker of irrepressible energy.
Tribeca Film Festival 2010: Visionaries: Jonas Mekas and the (Mostly) American Avant-Garde
The film’s quite right in showing the avant-garde as an enormously diverse movement.
João César Monteiro’s world is a strange one.
The film’s greatest utility could be as a hyperlink to its subject’s work.
Delicate as the images are, they often simplify the women’s oral commentary rather than enhance it.
Juan José Campanella’s The Secret in Their Eyes plays like a Law & Order episode.
The best thing about Renoir’s films is the continual sensation they give of life as theater, until theater feels like life.
Rock Hudson, pirates, Raoul Walsh standing by.
The film’s director and producer are both former Disney employees, and though not quite an infomercial, the film does have the feeling of an inside job.