Uncover the forgotten female stars of early-twentieth-century action serials. The women of these films, writes Radha Vatsal for the Atlantic, “exhibited traditionally ‘masculine’ qualities like 'physical strength and endurance, self-reliance, courage, social authority, and the freedom to explore novel experiences outside the domestic sphere.’ Then, by the early 1920s, those films and their stars, the so-called ‘serial queens,’ disappeared.”
Julien Allen writes for the Metrograph’s website about the “meticulous romance” of Todd Haynes’s Carol, which is enhanced by Ed Lachman’s breathtaking cinematography. “The camera behaves as if it has lost itself,” he says of the film’s final scene. “You can almost feel its heart beating with anticipation.”
Check out a list of 100 horror favorites, compiled by Time Out magazine, which includes such Criterion picks as Dead Ringers, Repulsion, Eraserhead, Carnival of Souls, and Don’t Look Now.
On that note, British parents were horrified on Easter morning this year to see Martin Rosen’s animated adventure classic Watership Down playing on their television screens.
Enjoy a selection of beautifully designed, feline-centric Polish and Czech movie posters collected by Adrian Curry over at MUBI.
Read a conversation with the great Guy Maddin about his 2003 melodrama The Saddest Music in the World, his new project Seances (an interactive companion to 2015’s The Forbidden Room), and his filmmaking future. “I’m just excited about the potential to be mischievous and hopefully a little smarter with each passing year,” Maddin says. “That’s my little state-of-the union optimistic shpritz.”
Photographer Gregory Crewdson and the Film Society of Lincoln Center’s Dennis Lim talk about the “importance of collaboration, [Crewdson’s] new work’s focus on the woods and rural settings, and how David Lynch’s Blue Velvet influenced his style.”
Another great new video essay from Channel Criswell, this one on Mathieu Kassovitz’s volatile 1995 drama La haine: