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Did You See This?

Cinema’s Best Dream Sequences, a New Issue of Film Quarterly

  • The BFI ruminates on ten masterful portraits of loneliness, including Yasujiro Ozu’s Late Spring, David Lean’s Summertime, Rainer Werner Fassbinder’s Ali: Fear Eats the Soul, and Wong Kar-wai’s Chungking Express.
  • For Eye on Design, Emily Gosling takes an in-depth look at David Lynch’s use of typography and what it reveals about his mysterious career.
  • In another ode to the surreal, Geoff Pevere examines some of cinema’s best dream sequences and how they “harness the subliminally suggestive power of film to a character’s internal life.”
  • Film Quarterly’s winter issue is available to read online for free for the next six months! In this edition, B. Ruby Rich reports from the Toronto International Film Festival, Maori Karmael Holmes interviews Julie Dash, and Alan O’Leary revisits The Battle of Algiers on its fiftieth anniversary.
  • For another long read, check out Criterion contributor A. S. Hamrah’s chat with 0s&1s about Jean-Luc Godard’s writing and his own coming of age as a film critic.
  • In anticipation of an upcoming Leonard Cohen series at New York’s Anthology Film Archives, Margaret Barton-Fumo writes on the use of the legendary singer-songwriter’s music in film.
  • Also at Anthology next week is the theater’s Valentine’s Day Massacre, an annual series that, in the words of the Village Voice’s Melissa Anderson, offers “respite from the sluices of treacle surrounding February 14.”
  • If real love is what you’re after, browse Elle’s list of the fifty most romantic movies from the past fifty years, which includes Criterion titles such as My Beautiful Laundrette, In the Mood for Love, Weekend, and Before Sunrise.
  • Over at Vanity Fair, Lili Anolick investigates the ill-fated collaboration between Warren Beatty and Pauline Kael during the making of James Toback’s 1982 film Love & Money.
  • Home buyers, take note! Grey Gardens is going on the market for the first time in decades.
  • The Talkhouse has premiered a new video essay by Mark Rappaport, which explores how the act of moviegoing has been depicted on the big screen.

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