“‘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…”
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Pablo Staricco Cadenazzi Interviews Argentinian Director Mariano Llinás About ‘The Flower’
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Sean Patrick Interviews Norwegian Director Joachim Trier
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“‘Human Desire’ points a hopeful, if naïve, way forward for men returning home from war.”
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“As the artist who painstakingly moved her hand-cut figures frame-by-frame, Reiniger’s presence is impossible to ignore while watching her films.”
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“‘L’Atalante’ is a movie defined by it moments, images and emotive strength, not its ostensible plot.”
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“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.”
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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 […]
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“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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