“The film goes beyond strict and narrow generic classification and touches upon something universal, something profound about undying affection and the unreliability of reality.”
Jeremy Carr is a faculty associate at Arizona State University and a visiting research fellow with the ASU Center for Film, Media and Popular Culture. He has written for the publications Cineaste, Film International, CineAction, Senses of Cinema, MUBI's Notebook, PopOptiq, Bright Lights Film Journal, and The Moving Image. Current projects include Senses of Cinema Great Director profiles on John Cassavetes and Elia Kazan and a book on Stanley Kubrick.
“The compassion Magnani and Pasolini elicit from this affectionate portrait is manifestly sympathetic — she just tries so hard.”
“He may be suggesting that emotional and social anxiety is widespread and prevalent, but the key distinction is that not everyone can translate these uncertainties into comedy gold.”
“‘L’Atalante’ is a movie defined by it moments, images and emotive strength, not its ostensible plot.”
“Like his characters, Demy’s camera in ‘Lola’ moves everywhere but goes nowhere; it’s a paradoxically headlong hesitation.”
“While Truffaut’s ‘Day for Night’ (1973) is his most pronounced and profound love letter to the moviemaking process, ‘Shoot the Piano Player’ is an exuberant tribute to the end result.”
“If Ozu has taught us anything, it’s that life doesn’t get any easier. But life does go on.”