Author Spotlight

Chris Fujiwara

Chris Fujiwara is the author or editor of several books on film, including Jacques Tourneur: The Cinema of Nightfall, The World and Its Double: The Life and Work of Otto Preminger, and Jerry Lewis.

11 Results

Martin Scorsese’s World Cinema Project No. 4

Two Girls on the Street: All Is Lies

This melodrama, made by André de Toth in his native Hungary, anticipates the unease of the director’s postwar Hollywood films with an array of radical stylistic choices and jarring visual tensions.

By Chris Fujiwara

The Cranes Are Flying: A Free Camera

A war film that emphasizes personal drama over public platitude, this masterpiece by Mikhail Kalatozov features the vitality and freewheeling cinematic experimentation characteristic of post-Stalin cinema.

By Chris Fujiwara

Häxan: The Real Unreal

Integrating fact, fiction, objective reality, hallucination, and different levels of representation, this silent masterpiece invented what decades later would be known as the essay film.

By Chris Fujiwara

In Cold Blood: Structuring the Real

Richard Brooks’s In Cold Blood applied cinematic specificity and flair to the literary realism of Truman Capote’s classic “nonfiction novel.”

By Chris Fujiwara

Ali: Fear Eats the Soul: One Love, Two Oppressions

People struggle to escape their socially dictated roles in Rainer Werner Fassbinder’s moving, Douglas Sirk–inspired melodrama.

By Chris Fujiwara

Riot in Cell Block 11: States of Exception

A real-life prison uprising inspired this two-fisted tale directed by Don Siegel, who would go on to make many more films about men in extreme situations.

By Chris Fujiwara

Le cercle rouge: What Is the Red Circle?
The meanings of the “red circle” are several, and I believe Jean-Pierre Melville placed this epigraph at the beginning of the film to invite us to contemplate them. For Melville’s cinema is contemplative. Although he saw himself as a popular ar…

By Chris Fujiwara

Excess in Stray Dog

Stray Dog is above all a film of atmosphere. The film establishes right away that it’s hot in Tokyo, and never lets us forget it for a second. By piling on naturalistic details to keep the heat constantly in our minds—fluttering fans, the mopping

By Chris Fujiwara

Love on the Run

While making Love on the Run, François Truffaut knew that it would be the end of the Antoine Doinel cycle. He also wanted the film to be the cycle’s recapitulation. Love on the Run prolongs Antoine’s adventures (or his “flight,” to recall th

By Chris Fujiwara

The Time It Takes: Le Trou and Jacques Becker

With recent retrospectives and video releases of several films, the United States is in the midst of a Jacques Becker revival. The rediscovery of Becker is an unusual opportunity because Becker was never discovered to start with. He’s tended to be

By Chris Fujiwara

Ordet
The strangeness of Ordet is something that no number of viewings, God willing, will rub off. I want to stress this strangeness. That Ordet is a great film, one of the greatest ever made, only a rash or foolish person will deny. But even less than wit…

By Chris Fujiwara