History of Cinema in Popielawy

Jan 9, 2017 — Since its inception more than a half-century ago, the National Society of Film Critics has maintained its reputation for championing idiosyncratic and independent voices during the commercially driven awards season, with past best picture awards going to films like Michelangelo...

Nov 18, 2016 — For Film Comment, Marc Walkow surveys the career of director Tomu Uchida, currently the subject of a retrospective at the Museum of Modern Art. Like many commercial Japanese directors of his era, Uchida has long been underappreciated in the West,...

Aug 25, 2015 — In Jean-Pierre and Luc Dardenne’s moving and humane critique of capitalism, true interpersonal communication is the only thing that can save us.

Jan 26, 2015 — Scenes without endings, sounds without corresponding images, actions without seeming motivation—Lucrecia Martel’s sense-heightening debut offers a cinema of subtraction.

Sep 13, 2011 — Robert Altman’s spellbinding drama about stolen identities is propelled by evanescent reveries of his own and inventive contributions from cast and crew.

Feb 1, 2011 — This essay was originally published in the booklet accompanying the 2006 DVD release of The Double Life of Véronique.At the opening ceremony of the 1996 Cannes Film Festival, actress Irène Jacob was asked to pay tribute to Krzysztof Kieślowski, who...

Cinema history is dotted with thunderous works of art that announced their makers’ brilliance right out of the gate.

Jun 29, 2010 — Photography, the basis of cinema, is also the foundation of Jan Troell’s Everlasting Moments. The Swedish title of Troell’s feature, his fourteenth, translates as Maria Larsson’s Everlasting Moments, which alludes to the photographs taken by its lead character, images of...

After making his mark in the early thirties with two very different films, this French master closed out the decade with two humanistic studies of French society that routinely turn up on lists of the greatest films ever made.

Jun 23, 2008 — Five years of increasingly horrific news from the former Yugoslavia made Milcho Manchevski’s searing yet lyrical film timely to a degree that few filmmakers have ever achieved.