“‘Moontide’ and ‘Port of Shadows’ offer a fascinating study into key differences in Hollywood and European filmmaking and storytelling during the 1930s and early 1940s, a time when the studio system reigned supreme…”
Pablo Staricco Cadenazzi Interviews Argentinian Director Mariano Llinás About ‘The Flower’
Sean Patrick Interviews Norwegian Director Joachim Trier
“‘Human Desire’ points a hopeful, if naïve, way forward for men returning home from war.”
“As the artist who painstakingly moved her hand-cut figures frame-by-frame, Reiniger’s presence is impossible to ignore while watching her films.”
“‘L’Atalante’ is a movie defined by it moments, images and emotive strength, not its ostensible plot.”
“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.”
It was a whirlwind, worldwide promotional tour for City Lights (1931) that brought Charlie Chaplin up close and personal with the global economic and political turmoil that would in large part inform his follow-up feature, Modern Times (1936). Chaplin, who knew poverty and hunger first-hand, having endured both […]
“Celestine is a difficult role in that it relies on a careful balance between sex appeal and misplaced indignation. While Moreau’s Celestine uses her sex as a means to raise her social place early in the film, her priorities seemingly shift as she uses her body in order to expose a murderer and rapist (or so she believes).”
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