The film honors the central paradox of Welles: that he was a joyful poet of alienation who was, like most of us, both victim and victimizer.
Criterion continues its heroic restoration of Welles’s lost and unappreciated masterpieces with this extraordinarily beautiful release.
The Other Side of the Wind isn’t a novelty item, but a work of anguished art that’s worthy of its creator.
Ahead of The Other Side of the Wind’s world premiere at the Venice Film Festival, Netflix has released the trailer for Orson Welles’s unfinished last film
The Criterion Collection offers a rough and gorgeous transfer of Orson Welles’s audaciously personal Othello.
Olive Films continues their upgraded Signature series with yet another impressive repackaging of a prior release.
This revelatory restoration of Orson Welles’s ultimate masterpiece could play a significant role in the film’s subsequent place in cinema’s history.
Criterion has performed an invaluable service to cinephilia by refurbishing another of Orson Welles’s obscure late-career masterworks.
In the film, Orson Welles is at the height of his powers while reveling in the poetic force of Falstaff’s weakness.
As far as matters of its own history goes, Los Angeles has a reputation for having one eye set to the rear-view mirror.
This presentation is a beautiful, if barebones, means of introducing newcomers to one of Welles’s more idiosyncratic commercial films.
Chuck Workman simply compiles Orson Welles’s greatest moments, offering little in the way of an authorial point of view.
The extras could use a spruce-up, but this is still a sturdy and attractive packaging of a profound and self-reflexive Welles masterpiece.
That multitude, with regard to films, is rather restricted to a specific kind of cinephilia, primarily an overt emphasis on Classical Hollywood.
Robbe-Grillet’s films are as intricate and enigmatic as you might expect from the man who scripted Last Year at Marienbad.
It derives its tension from its almost pointed meaninglessness, which would appear to be a subterfuge for a personal expression that’s never quite achieved.
Kino has taken some imperfect yet heroic steps to restoring Orson Welles’s The Stranger in all its brilliant, subversive grandeur.
Olive Films offers the long cut with the Scottish accents intact, and in 1080p, it looks, well, it looks really, really depressing.
Kane’s story is as much about locating the psychological bruises that shape public figures as it is about the essential enigmas of said figures.
To choose only 10 films for this list was a task at once simple and impossible.