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    • For the Library of America’s Moviegoer column, writer Megan Abbott takes on the tangled dynamics of desire in Otto Preminger’s classic 1944 noir Laura.Laura’s most subversive message is that it reveals all of us as shape-shifters, performers, altering our performance to hide our secrets and to get what we want,” she says. “In Laura’s world, desire is real, palpable, dangerous. It is our secret self, more potent than love, and more enduring.”
    • In advance of the BFI’s upcoming fall series on Pedro Almodóvar, the director has shared a list of thirteen Spanish films that inspire him, including Luis García Berlanga’s The Executioner, Carlos Saura’s Peppermint Frappé, and Víctor Erice’s El sur, which Almodóvar describes as “ninety-six minutes of emotions so intense that you’re left breathless. I cry every time I watch it.”
    • The haunting beauty of America’s abandoned movie palaces
    • David Bordwell writes about the films of Taiwanese director Edward Yang, beginning with his 1991 masterpiece A Brighter Summer Day. “With this film Yang asserted himself as the equal to Hou Hsiao-hsien,” he writes, comparing the filmmaker to his friend and contemporary. “Together, they lifted their nation’s filmmaking to world stature.”
    • MUBI, which is streaming a new restoration of Godard’s Masculin féminin this month, spoke with legendary French cinematographer Willy Kurant about his wide-ranging career working with everyone from Maurice Pialat to Louis CK. “Pialat had fired everybody, everybody he ever worked with, except me,” says Kurant. “But I started with Pialat. [. . . ] I was forced on him. It was very easy for me, and he was telling me, ‘Normally, I'm taking the camera away from the cameraman, and I do it myself.’ And I answered him, “from me, you are not going to take it, because it's my camera. And I'll leave.’ He never took the camera.”
    • Richard Brody reviews Antoine de Baecque and Noël Herpe’s 2014 biography (newly out in English from Columbia University press) of French filmmaker Eric Rohmer, who was more more complexly enigmatic than many have known.
    • Watch a new video essay by Diego Carrera, chronicling the history of horror cinema from 1895 to 2016:

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