It’s safe to say our cultural fascination with the blood-sucking undead isn’t going away anytime soon.
Words fail with a masterpiece as hermetically sealed and seamless as Dreyer’s 1928 silent.
Criterion’s restoration of a horror masterpiece achieves a nearly contradictory state of ghostly clarity.
There’s something undeniably special about viewing silent films at the Castro.
Decades ahead of its time, Dreyer’s silent satire can now be fully appreciated for its modern acting, nuanced invention and sly wit.
In order to comprehend Godard’s cinema, Witt claims, it’s first necessary to understand precisely how Godard defines the cinema.
I’m totally willing to admit, at the outset, the possibility that any of my favorite 10 below may decline in estimation over time.
The list of “obstructions” ought to be familiar to anyone with any exposure to this parlor game.
We’ve stormed the gates and are now officially part of the canon-forming establishment…or (fingers crossed) the canon-altering anti-establishment.
Cold Weather is a film with polish, wit, and impeccable comedic timing.
Dreyer was committed to the idea of romantic and sexual love between two people as the living embodiment of God on earth.
Watching Day of Wrath for the second time at age 35, I now see much more E.T. than Schindler’s List.
Durgnat’s core strength was his refusal to be seduced by intellectual fashion.
Cheshire was open to discussing how the changing times broadened his interests in film and filmmaking.
Michael resonates strongly as not only one of Carl Theodor Dreyer’s greatest triumphs.
Dreyer turns a bisexual love triangle into the archetype of sexual piety and martyrdom. How Scandinavian of him.
Gertrud is so peculiar as to appear almost otherworldly.
Between this and Dreyer’s Master of the House, one could have a real ironic Mother’s Day film festival.
An apologia for all future Susan Smiths, Euripides’s filicidal classic Medea is a simple story.