No Future for You: The Cinematic Image of 70s Britain
“The 70s were a tumultuous and often bleak decade for the British film industry, and this pessimism bled into its output.”
“The 70s were a tumultuous and often bleak decade for the British film industry, and this pessimism bled into its output.”
“Fifty years since its release, ‘Ashad Ka Ek Din’ holds on to its Bressonian and austere power.”
“In my hatred for the Bond franchise, I feel I may have done a disservice to its star. I have always had a tendency to discount Sean Connery as an exquisitely sculpted statue, capable of filling out a tuxedo very nicely but little else.”
“Cassavetes’ films form a mosaic of artistic fortitude, glued together with thought.”
“It is during the 70s that the disaster film’s most pure and admirable entries were made, bookended by two significantly different stories involving air travel fiascos.”
“In Australia, our cinematic art has been trying to shake us from apathy for 50 years.”
“In dramatizing themes of absence and presence so thoroughly, ‘Klute’ embodies a central feature of neo-noir; as a self-conscious revision of a classic film cycle, noir is always both absent and present in neo-noir films.”
“Miraglia’s deliberate interweaving of castles and glimmering blades taps into the one element that both Gothic and giallo art share: the ability to taffy-pull delight from terror. Both Poe and Bava would tip their hats.”
“Fantasy exists to create a place of greater safety, a rejection of the real world in favour of one that allows for an open, unapologetic queerness.”
Julia Bozzone on Quad Cinema’s Fresh Meat: Giallo Restorations, Part Two
“Faced with the death of its utopian hopes, the remnants of America’s counterculture split into two tendencies: the pastoral and the criminal. Its despondency was turned inwards and outwards; one side sought to build alternative structures in line with a higher authority, while the other strove to rearrange the wreckage of the existing order.”
“With the Acid Western, the genre had once again proven itself capable of assimilating new grievances and anxieties.”
“Just like his protagonists, D’Antoni refused to play by the rules, and he got results.”
“One of the great characteristics of ‘Four Flies on Grey Velvet’ and numerous other giallo films is their willingness to destabilize traditional notions of subjectivity.”
A Justine A. Smith Series on Montreal’s Cinémathèque Québécoise
“‘Women in Revolt’ stands in defiance of the majority of transgender-specific cinema…”