The Woman and the Puppet: On Abel Ferrara’s ‘New Rose Hotel’
“Her power lies in her opaqueness.”
Advertisements
Advertisements
Where Does Your Hidden Smile Lie? – On Philippe Garrel’s ‘Frontier of the Dawn’
“This is a love story expressed through gaping structural absences.”
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.”
Of Love and Other Demons: ‘The Devil Is a Woman’ (Josef von Sternberg, 1935)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
Of Love and Other Demons: ‘Blonde Venus’ (Josef von Sternberg, 1932)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
Of Love and Other Demons: ‘Underworld’ (Josef von Sternberg, 1927)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
Of Love and Other Demons: ‘The Docks of New York’ (Josef von Sternberg, 1928)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
Chasing Chabrol: ‘Violette Nozière’
“Youth is central to Violette, and Isabelle Huppert’s petite frame and almost childlike features lend the film a skewed point of view that is coloured neither by experience or shame.”