“A film is always an attempt, nothing more, and that allows for a sort of dialogue.”
The filmmaker tracks the development of his research-based cinema from evocations of childhood memory to adaptations of Indian paintings and literature.
Sexual panic in South Brooklyn
Cinema Novo, Tropicália, and the tradition of Brazilian literary modernism
Blunt yet intoxicating, James Gray’s The Lost City of Z betrays its outsize ambitions and pained revisionism with every last scene
A Quiet Passion, Terence Davies’s biopic about the poet Emily Dickinson, faces a problem typical of movies seeking to recreate the life of a literary figure: how to accommodate film to language, and, in particular, to Dickinson’s dense, elliptical, and unconventionally punctuated and often abstract poetry.
Two films tell the tragic story of reporter Christine Chubbuck’s on-air suicide in 1974.
What would life be like if nature had selected the male body to gestate and deliver offspring? What if women had evolved to be on the more pleasurable side of procreation while men endured its discomforts (if not labor pain, then at least an average of 2,400 days of bleeding through adolescence and adulthood)?
On the fiery filmmaker Andrzej Żuławski and his final work—Cosmos.
“You’re looking at the human inverse of a technological idea.”
The Dogtooth filmmaker talks about The Lobster, finding the right tone, and the state of Greek cinema.
“There’s rampant hypocrisy in this society—a hypocrisy verging on schizophrenia.”
“I don’t want to continue making movies this way.”
“I don’t see myself as an ambassador of Chinese reality.”
“As soon as you film someone it accelerates the deterioration of love.”
“A cat and mouse game between attraction and repulsion.”
Over the past two years I’ve been captivated by the work of Polish filmmakers.