Gary Indiana

Luis Buñuel lays bare the amorality and illogic of human affairs in the slew of straight-faced absurdities that make up his penultimate film.

Ihave an unusually easy way of remembering when I first became fascinated by Robert Bresson’s films. Pickpocket (1959) was the first one I saw, at the old Orson Welles theater in Cambridge, Massachusetts, in my late teens; it was also the first mov…

This essay by novelist, playwright, and culture critic Gary Indiana originally appeared in the 1992 book Everything Is Permitted: The Making of “Naked Lunch.” Burroughs’s work tends to affect people like a Rorschach test. It separates cultural …

Jean Luc Godard’s exuberant, multipronged attack on the bourgeoisie is both theater of the absurd and political horror.

The title card that appears in the opening credits of Salò, or The 120 Days of Sodom, Pasolini’s “Recommended Bibliography,” seems to signal to the viewer that the filmmaker’s intentions can’t be fully understood without a familiarity with

To a secular eye, Jean-Pierre Melville’s sixth feature film, Léon Morin, Priest (1961), is about almost anything except religion: the deleterious effects of sexual repression, the moral bleariness of wartime and life under occupation, the harsh in…

“Eroticism,” Luis Buñuel told an interviewer, “is a diabolic pleasure that is related to death and rotting flesh.” No filmmaker conveys this idea with more ingenuity and macabre gusto than David Cronenberg, whose movies (hilariously, terr…

Adapted from the famed samizdat novel of the French Resistance, Jean-Pierre Melville’s first feature, Le silence de la mer (1949), despite critical and commercial success, gained its director little glory: overshadowed by the book and the celebrity

Barbet Schroeder is a director who prefers the appellation “explorer” to that of “auteur,” and again and again his films demonstrate both his intense curiosity about the unexplored and his willingness to allow material he discovers to speak f

Indefatigably productive, ingenious, exasperating, narcissistically didactic, slyly self-promoting, abject, generous, exploitative, devoted to the wretched of the earth with honest fervor and deluded romanticism: Pier Paolo Pasolini can easily exhaus