After Everything

Jan 17, 2005 — Along with Touchez pas au grisbi and Le Trou, Casque d’or is now widely recognized as the summit of Jacques Becker’s achievement as a filmmaker.

Jan 17, 2005 — Jacques Becker’s crime film contains plenty of the requisite genre elements—double-crossings, violence, kidnappings, and gun battles—but it’s also a pensive meditation on age, friendship, and lost opportunities.

Jan 10, 2005 — Seijun Suzuki made a breakthrough with his second feature, a yakuza thriller full of devil-may-care assurance and try-anything imagination.

Sep 13, 2004 — About a year and a half ago, a friend and I found ourselves exiled to a cold Midwestern city, where we spent most of our time missing the lazy Texas college town that shaped our idea of the good life....

Aug 23, 2004 — This drama about young dreamers is the first definitive plunge into many of Federico Fellini’s dominant thematic and imagistic preoccupations.

Aug 2, 2004 — The three film’s in Renoir’s trilogy are comic period fantasies in dazzling color, offering a kind of continuous, bustling choreography in which shifting power relations between upper and lower classes and between spectators and performers literally turn the world into...

Jul 19, 2004 — Marcel Carné's third feature is as epochal as any film made in France in the 1930s, exemplifying the style known as “poetic realism.”

Sep 29, 2003 — Fassbinder had long dreamed of a “German Hollywood film.” He sought not only success with the audience, but also professionalism. The auteur film in its purest form is an attempt to abolish the division of labor: the filmmaker represents in...

Sep 29, 2003 — Rainer Werner Fassbinder dedicated his final energies to bringing the lost, gray years of postwar Germany back to life.

Aug 18, 2003 — One of the Swedish director’s most representative works, this drama’s portentousness, banked intensity, and recondite symbolism come near to embodying the popular stereotype of the Bergmanesque.