A solid transfer and extras package, but Au Hasard Balthazar is a masterpiece that deserves an updated edition with a wider range of commentary.
The film stands alongside Gertrud, Eyes Wide Shut, and Imitation of Life among directors’ final films that are also arguably their finest.
The depths of Bresson’s ostensibly simple formalism and stark moralism only make themselves apparent after multiple viewings of his films.
A film about history that avoids it entirely. Not out of cowardice or lack of nerve, but because the head-on acknowledgement of Europe’s long 20th century is quite simply too painful.
A Man Escaped is a great movie as well as an ideal introduction to the work of Robert Bresson.
I’m totally willing to admit, at the outset, the possibility that any of my favorite 10 below may decline in estimation over time.
It’s hard not to get a little nostalgic while trying to determine one’s favorite films of all time.
Luchino Visconti’s The Leopard is quite simply the most lavish historical epic ever captured on celluloid.
Jean Epstein is one of the great filmmakers cinephiles discover after deciding there are no more worlds left to conquer.
It rises above its earthly architecture, in each moment conveying what’s within, and what’s outside.
Bresson’s best works attain an air of perfect reverie through a conception of framing and montage that seems equally contrary to the classic idea of what an image, or sequence of images, should represent.
With Project Nim, James Marsh has created a documentary that feels more like a biopic—and one that avoids the genre’s usual pitfalls.