Vague Visages Is FilmStruck: Jeremy Carr on Ingmar Bergman’s ‘Summer with Monika’
“Bergman’s cinema had entered a phase of pronounced maturity.”
Jeremy Carr
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.
Vague Visages Is FilmStruck: Jeremy Carr on Louis Malle’s ‘Black Moon’
“Communication — or the lack thereof — is key to ‘Black Moon.’”
Vague Visages Is FilmStruck: Jeremy Carr on David Lean’s ‘This Happy Breed’
“It is, quite simply, one of the most engaging and most charming movies ever made.”
Vague Visages Is FilmStruck: Jeremy Carr on Anthony Mann’s ‘T-Men’ and ‘Raw Deal’
“In both ‘T-Men’ and ‘Raw Deal,’ Alton and Mann take what is already a heightened genre and somehow intensify its formal qualities.”
Vague Visages Is FilmStruck: Jeremy Carr on Federico Fellini’s ‘La Strada’
“Fellini’s films often flourished with acute ruminations on life and society, but rarely would his work achieve this degree of pure emotion.”
Vague Visages Is FilmStruck: Jeremy Carr on Andrei Tarkovsky’s ‘Solaris’
“The film goes beyond strict and narrow generic classification and touches upon something universal, something profound about undying affection and the unreliability of reality.”
Vague Visages Is FilmStruck: Jeremy Carr on Pier Paolo Pasolini’s ‘Mamma Roma’
“The compassion Magnani and Pasolini elicit from this affectionate portrait is manifestly sympathetic — she just tries so hard.”
‘Stardust Memories’: Woody Allen’s Comic Catharsis
“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.”
Vague Visages Is FilmStruck: Jeremy Carr on Jean Vigo’s ‘L’Atalante’
“‘L’Atalante’ is a movie defined by it moments, images and emotive strength, not its ostensible plot.”
Vague Visages Is FilmStruck: Jeremy Carr on Jacques Demy’s ‘Lola’
“Like his characters, Demy’s camera in ‘Lola’ moves everywhere but goes nowhere; it’s a paradoxically headlong hesitation.”