No Oscar category has become as big a flash point among cinephiles as the cinematography prize.
You couldn’t help but wonder if this year’s Ebertfest was going to be the last.
Thematic preoccupations are what make individual filmmakers so intriguing as one steps back to examine certain artist’s entire careers.
Can Malick’s dream-like film grammar resonate when set in the modern world?
Even though Lubezki is backed, for the first time ever, by a Best Picture nominee, he’s also almost entirely surrounded by nominees that can boast the same.
One major reason that Malick’s films are so divisive is that they’re so nakedly emotional, that he’s so blatantly aiming for the sublime.
For our third installment of “The Conversations,” we decided to each select a film from the past 10 years that we thought was unfortunately overlooked and/or unfairly maligned.
In Sergio Leone, Morricone had a boss and partner who reserved a prominent place in his films for music.
The key to understanding Terrence Malick’s intent can be found in a camera move that begins the denouement of Days of Heaven.
First, a note on terminology: contrapuntal narration is a specific type of narration that is not merely decorative or functional.