“The power of ‘First Reformed’ is rooted in Schrader’s ability to take a number of clear forbearers — Bresson, Dreyer, Pialat — and twist them into a style that feels wholly unique and rooted in a personal set of values and obsessions.”
“Finally facing the ghost actually releases the tension. And so, it is only by facing a trauma like the Holocaust that future generations can begin to relieve its effects.”
“Nyman and Dyson’s film is so full-bloodedly cinematic that it leaves one wondering how on earth they captured this on the stage.”
“In between Ford’s wide shots and Scorsese’s close-ups, there is an effort by each filmmaker to make faith real.”
“I’m convinced that understanding the progression is a crucial bridge in any attempt to understand how the two distinct portions of Bergman’s filmography interact.”
“When we watch the films, we can be Larry — agonising over ‘feeling the question’ — or we can be Sussman, content not to know but still enjoying the experience.”
“‘Stalker’ is less concerned about the actual plight of these men and more about the philosophical questions their journey brings to the forefront.”
“In Scorsese’s inversion of the downfall, paradise isn’t the origin and its loss doesn’t mean moral decrepitude, only mediocrity.”
A Series on Italian Cinema by Q.V. Hough
“Perhaps he is finding a way to explore the realm of the fantastic in a new way, a more honest way. Honest, but even more horrifying.”
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
