Review: Margarethe von Trotta’s ‘Searching for Ingmar Bergman’
“‘Searching for Ingmar Bergman’ is one of the better documentaries about a legendary filmmaker.”
Know the Cast: ‘Bergman Island’
‘Bergman Island’ Cast: A Vague Visages guide for every main performer and character in Mia Hansen-Løve’s 2021 movie.
Soundtracks of Cinema: ‘Bergman Island’
‘Bergman Island’ Soundtrack: A Vague Visages guide for every featured song in Mia Hansen-Løve’s 2021 movie.
Review: Mia Hansen-Løve’s ‘Bergman Island’
“The Fårö setting in ‘Bergman Island’ provides Hansen-Løve with a treasure chest of opportunities to indulge and explore cinephilia, reflexivity, homage and intertext, but the potential autobiographical interpretations are equally enticing.”
Know the Cast: ‘Scenes from a Marriage’
‘Scenes from a Marriage’ Cast: A guide for every performer and character in the 2021 HBO series.
Netflix Review: Ryuichi Hiroki’s ‘Ride or Die’
“Plenty of double-themed movies have been made over the years, but ‘Ride or Die’ seems like an ideal companion piece to ‘Persona.’ Both films are sexually provocative, and both require multiple viewings to better understand the perspectives of each female protagonist.”
Vague Visages Is FilmStruck: Ingmar Bergman’s ‘Fanny and Alexander’
“‘Fanny and Alexander’ is an easily entertaining primer to the cinema of Ingmar Bergman…”
Vagabond Noirs and Tramp Westerns: The Films of Hugo Fregonese at Il Cinema Ritrovato
“Hugo Fregonese is a director ripe for rediscovery.”
Collecting Movies with Toby Jones
Greg Carlson Interviews Filmmaker Toby Jones About Movie Collecting
Berlinale 2020 Review: Christian Petzold’s ‘Undine’
“Petzold’s use of fairytale is rote, but – as a piece of Sirkian high melodrama – ‘Undine’ is eminently satisfying.”
Review: Marianne Métivier’s ‘She Who Wears the Rain’
“‘She Who Wears the Rain’ shows how lucid dreaming engagement can help people cope with mental health issues.”
The Comfort of Shared Pain: Ingmar Bergman’s ‘Scenes from a Marriage’
“Bergman doesn’t need tricks because the simplicity of what he’s presenting will cut you to the core if you open yourself up and let it in.”
Robert Eggers Unlocks ‘The Lighthouse’
“‘The Witch’ may be the superior film, but ‘The Lighthouse’ shows Eggers growing by leaps and bounds as a storyteller and visual stylist.”
Review: Lulu Wang’s ‘The Farewell’
“Writer-director Lulu Wang finds inventive ways to freshen up the terminal cancer tale in ‘The Farewell,’ a worthwhile diversion to so much summer blockbuster fare.”
Vague Visages Is FilmStruck: Marshall Shaffer on Ingmar Bergman’s ‘Silence of God’ Trilogy
“I’m convinced that understanding the progression is a crucial bridge in any attempt to understand how the two distinct portions of Bergman’s filmography interact.”
Reality Is a Deadly Place: LSD Cinema’s Short and Strange Trip
“Drug culture and social upheaval became inextricable on the screen in the 60s; it was a belated recognition on the part of the industry’s tastemakers that American cinema’s scrupulously maintained state of grace was no longer sustainable…”
A Retreat into the Self: Introspection and Egoism in Ingmar Bergman’s ‘Wild Strawberries’
“Bergman’s penchant for giving physical form to the conscious and subconscious mind is rarely more apparent than in his 1957 masterpiece ‘Wild Strawberries.’”
Vague Visages Is FilmStruck: Ingmar Bergman’s ‘Summer with Monika’
“Undeniably the central focus of ‘Summer with Monika,’ Andersson’s overt sex appeal somewhat minimizes her remarkable range in the film, her seamlessly oscillating moods and subtle facial intimations.”
Edward Yang’s ‘Yi Yi’ in the Era of Social Distancing
“‘Yi Yi’ is a film for grown ups in the sense that the characters have lived long enough to understand how memories of people can stay with them over the course of their lives. Keeping your distance from people is not the same as giving up on them.”
Easy Riders, Paper Moons: The Trouble with Classifying Peter Bogdanovich
“If New Hollywood was an attempt to shape the future in novel ways, Bogdanovich was manifestly more interested in looking back, in reaction over revolution, in conforming his artistic impulses to an unambiguously Golden Age Hollywood influence.”
