“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…”
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“The cultural energy of the French New Wave is all over ‘The Story of a Three-Day Pass,’ not least because Van Peebles moved to Paris with his young family and published four novels in French as he was learning the language.”
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“‘Branded to Kill’ doesn’t flow, it staggers — it moves like a dying man, shot through the gut, bleeding out.”
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“Occupying a middle space between the classicism of Japan’s most well-known filmmakers and the politically charged avant-garde of the New Wave, Suzuki uses the trappings of noir to explore the ramifications of isolation.”
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“‘A Colt Is My Passport’ represents a supreme tension between American and Japanese Noir, and asks questions about the past and future of international cinema.”
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“As much as I love a good story, the best movies always transport me, in an intangible sense, through the base elements.”
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“In their conversations, Soderbergh and Nichols work together to dismantle the artificial dividing line between art and criticism, neatly moving between the two…”
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“It’s not difficult to see how PlayTime’s jubilant finale — with its invocation to fashion the city to its occupants’ sense of fun, desires and needs — is perhaps Tati’s most profound statement of his participatory cinema.”
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Bill Bria Interviews Noah Lerner About Murray Lerner’s 1967 Documentary Festival!
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“Both Lucas and Lynch’s world views allow for the possibility of personal atonement, and for external peace emerging from inner peace.”
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“Scorsese’s latest film channels the same intellectual curiosity and spiritual fervor of his directorial debut, with the addition of nearly 50 years of experience in technical skill and storytelling precision.”
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