In an excerpt from his new book This Young Monster, Charlie Fox considers the “fearsome lucidity” of Rainer Werner Fassbinder: “There were no signs of a drooling id let loose or canny subterfuge between his public image and private life: this was simply how he lived, none of the illicit joys or furies hidden, in a drama to rival any of his films.”
For the New York Times, Dennis Lim writes on the “pop-art flair and avant-garde theatrics” of Japanese genre-film master Seijun Suzuki, who passed away last week at the age of ninety-three.
Another icon of the Japanese New Wave, Masahiro Shinoda, takes the spotlight in this new appreciation over at Film Comment, which notes the availability of more than half of the director’s work on FilmStruck.
Writing on the protagonist of the Senegalese masterpiece Black Girl, David Lee Astley notes the significance of director Ousmane Sembène choosing “to depict the experiences of a black female worker in France over his own, understanding the further subjugation that women experience in any oppressive system.”
Following the death of Richard Schickel last week, Time’s Stephanie Zacharek remembers the critic and filmmaker as, first and foremost, “a lover of movies and of all the complicated, sometimes perplexing pleasures, that come with them.”
Over at the Los Angeles Review of Books, Colin Marshall explores the time Chris Marker spent in Korea in the late fifties, which resulted in his 1962 photo book Coréennes.
In a new article for the BFI, Brad Stevens explains how John Berger’s theories about oil painting offer an alternative to traditional methods of studying classic Hollywood films.
For Filmmaker magazine, Vadim Rizov looks back on films released in 2016 that were shot on 35 mm, including Philippe Garrel’s In the Shadow of Women and Anna Biller’s The Love Witch.
Jean-Luc Godard’s ultra-rare Une femme coquette, a nine-minute short that marks the director’s first attempt at narrative filmmaking, has turned up on YouTube.
Werner Herzog and Kirsten Johnson are among the participants in this year’s Hollywood Reporter roundtable for documentary directors. Watch the complete video below:
“Jon, I sent you an email regarding my defective BIGGER THAN LIFE blu ray. Not only has the brilliant color faded, but picture starts breaking up at 19 minutes and continues to do so after that point . . .”
“I bought Solaris on Amazon in September 2016 and I'm just now (April 2017) attempting to play it. My PS4, which is up to date and doesn't have a problem with any other discs, won't play it after . . .”
“The John Alcott video essay was excellent! His contributions to A Clockwork Orange and Barry Lyndon are a big reason why those two are favorites of mine. I was never aware he worked on Beastmaster . . .”