For the next two weeks BAMcinématek will be showing the World Cinema Foundation’s restorations.
If the remake stinks, that’s only because it removes the moody pacing and reveals the essential silliness under the former’s classy Euro-glaze.
While both films are stylistically and narratively audacious, they couldn’t be more different in tone.
It’s as if everyone in Aardvark, blind or not, is feeling their way through the world in completely different ways.
Understanding Screenwriting #63: The Social Network, Inside Job, Capitalism: A Love Story, & More
The Social Network has the best opening scene in a movie since that great montage at the start of Up.
The savvy filmgoer will target those films without distribution.
Not a damaged wail and not a burst of joy either. It’s the wizened sound of acceptance.
It turns out the ghosts in the shadows and the monsters with red eyes aren’t horrific enemies, but different versions of our best and worst selves.
The dissolution of Guy and Genevieve’s romance is a perfect parallel to the way we experience cinema.
Maybe that phenomenon is what inspires filmmakers to make concert documentaries in the first place: the challenge of simulating the feeling of being there.
House of Suh looks into the eyes of a young murderer and finds an evolving mystery yet to be solved.
There are a hundred objections to The Searchers, none of which are as convincing as the film itself.
Be crazy. And by crazy, I mean unhinged, unpredictable and inspired.
Most war films depend on the physical movement of bodies, bullets, and explosions to expose the horrors of combat. Not these.
As it turns out, this low-profile episode is an apt distillation of a largely low-profile season.
“Runaway” is less of a video for the track of the same name than it is a film designed to be visual accompaniment to the whole of the Fantasy album.
I wonder if Zuckerburg likes Thai food.
Every cinephile wants to experience something special, singular, and rare in their collective pursuit of all things cinema.
Some of the entries are set in stone from edition to edition, and that’s fine in most cases.
Carlos is the exception that proves the rule.