We Can Do That

Aug 14, 2006 — “Some people think rohmer is in league with the devil,” wrote cinematographer Nestor Almendros in his book of autobiographical reflections on the cinema, A Man with a Camera. He was describing his working experience on My Night at Maud’s (1969)....

Jul 24, 2006 — Powell and Pressberger’s poignant work captures the fulfillment and absolute sameness of the everyday and the sacred.

Jul 10, 2006 — In his unpredictable daily encounters with the gorilla Koko and her teacher, Barbet Schroeder foregrounds the quiddity of Koko’s situation in episodic fashion.

Jun 19, 2006 — This essay originally appeared in the fanzine PHOTON (issue #22), in 1972. Stop-motion animation has been attracting a growing number of enthusiasts for about the last ten years, and though it seems the majority of these people must out of...

Aug 22, 2005 — This delicate, fascinating film is self-consciously, almost militantly, naive, and it remains something of an anomaly in Roberto Rossellini’s body of work.

Jul 11, 2005 — The trickily variant sensibilities of the three daydreams and their long duration are what mark Unfaithfully Yours as a stray modernist object.

Jun 27, 2005 — Ko Nakahira’s Nikkatsu Studio youth flick helped transform postwar Japanese cinema.

Mar 14, 2005 — The first time I put an eye behind a camera (a 16mm Bell & Howell), it was in a lunatic asylum. The head of the institution was a great big hulk of a man with a face so ravaged by...

Mar 14, 2005 — The appearance of this 1966 film signaled not only the debut of Volker Schlöndorff as a major international filmmaker but also the beginnings of what would become known as the New German Cinema, one of the most important film movements...

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...