Film scholar extraordinaire David Bordwell is among our most meticulous writers on the art of cinema, looking closely at the construction of a film to see what makes it work and how its technical approach reflects its historical moment. We naturally turned to Bordwell for an analysis of Carl Theodor Dreyer’s early silent comedy Master of the House, which seems somewhat anomalous in Dreyer’s body of work, known for its formal austerity. In the following excerpt from the visual essay he contributed to our release, Bordwell discusses the film’s focus on the textures of everyday life, its startling number of cuts (there are more shots in Master of the House than any other Danish film of the period, he says), and its relationship to the German Kammerspielfilm of the time, anti-spectacles about ordinary people.
Why Swing Time Is the Greatest of All Dance Films
In this excerpt from an interview on our new edition of the Astaire-Rogers classic, dance critic Brian Seibert explains how beautifully and cleverly the film integrates dance into the structure of a romantic-comedy plot.
A Moody Meditation from the Set of Blue Velvet
In a rarely seen documentary about David Lynch’s 1986 masterpiece, the director and his star, Isabella Rossellini, give their candid impressions about the creative journey they’ve embarked on together.