Author Spotlight

Geoff Andrew

Geoff Andrew is senior film programmer at London’s BFI Southbank and a regular contributor to Sight & Sound. He was for many years film editor of Time Out London and has written, contributed to, and edited numerous books on film. He has lectured on various cinematic subjects and has a particular interest in French film. In March 2009, the French government made him a Chevalier de l’Ordre des Arts et des Lettres.

6 Results

An Autumn Afternoon: A Fond Farewell
An Autumn Afternoon: A Fond Farewell

It was never, of course, Yasujiro Ozu’s intention that An Autumn Afternoon (1962) should be the final film of his thirty-­five­-year career as a writer­-director. Indeed, before he died on his sixtieth birthday, in December 1963, he had made not…

By Geoff Andrew

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Une chambre en ville: Love and Death
Une chambre en ville: Love and Death

Combining a tragic romance and the story of a workers’ strike, this musical melodrama is perhaps Jacques Demy’s most neglected masterpiece.

By Geoff Andrew

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The Kid with a Bike: Motion and Emotion
The Kid with a Bike: Motion and Emotion

The Dardenne brothers return to the streets of Seraing for a typically humane and suspenseful story of personal redemption.

By Geoff Andrew

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The Magician: Through a Glass Drolly
The Magician: Through a Glass Drolly

Ingmar Bergman’s Ansiktet (1958)—the title literally translates as The Face, though in North America it was released as The Magician—is arguably one of his most underrated achievements. Its undeservedly lowly standing may perhaps be attribute…

By Geoff Andrew

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Stranger Than Paradise: Enter Jarmusch
Stranger Than Paradise: Enter Jarmusch

It was not just that its characters were to some extent “strangers in a strange land”; you could also imagine their creator echoing a famous line—“I’m a stranger here myself”—spoken by the titular hero of Johnny Guitar (1954),…

By Geoff Andrew

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Eric Rohmer and the Six Moral Tales

In terms of consistency of both the content and form of his films, Eric Rohmer is without a doubt one of the most distinctive auteurs in the history of cinema. As with Japan’s Yasujiro Ozu, within min­utes—seconds, even—of starting to watch on

By Geoff Andrew