The Cold Light of Day: On Agnès Varda’s ‘Le Bonheur’
“The narrative’s complete subordination to the cinematic is a running commentary on the capabilities of film as form.”
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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.”
The Anti-Romance of Agnés Varda’s ‘La Pointe Courte’
“The point is to look as closely as Varda herself, who watches every detail with curiosity, kindness and a relentless sense of wonder.”
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.”
Political and Social Conventions in Jacques Demy’s ‘The Umbrellas of Cherbourg’
“Fifty-three years after initial release, ‘The Umbrellas of Cherbourg’ continues to be a formally and contextually innovative French New Wave production; a film that has influenced contemporary directors such as Barry Jenkins, Damien Chazelle and Joachim Trier.”
Vague Visages Is FilmStruck: Jeremy Carr on François Truffaut’s ‘Shoot the Piano Player’
“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.”
The Aesthetic and Formal Challenges of Jean-Luc Godard’s ‘Contempt’
“‘Contempt’ is a daunting and formally labyrinthine work, calling its own fallibility to question even as it submits completely to the romance of cinema.”