“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…”
“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.”
“‘Branded to Kill’ doesn’t flow, it staggers — it moves like a dying man, shot through the gut, bleeding out.”
“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.”
“‘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.”
“As much as I love a good story, the best movies always transport me, in an intangible sense, through the base elements.”
“In their conversations, Soderbergh and Nichols work together to dismantle the artificial dividing line between art and criticism, neatly moving between the two…”
“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.”
Bill Bria Interviews Noah Lerner About Murray Lerner’s 1967 Documentary Festival!
“Both Lucas and Lynch’s world views allow for the possibility of personal atonement, and for external peace emerging from inner peace.”
“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.”
