Aamis

May 5, 2009 — Every second of David Fincher’s uncanny drama—every shot and every cut, every gesture and every facial expression, every turn in its narrative and every visual effect—is devoted to the contemplation of time’s passing.

Apr 23, 2009 — This interview, conducted by Michael Henry, first appeared in the May 1978 issue of Positif.

Feb 16, 2009 — Through the story of thunderously, wondrously henpecked men and a determined woman’s romantic zeal, David Lean’s comedy depicts private and social revolution.

Oct 6, 2008 — It is pretty much a convention of the hard-boiled gangster picture that most, if not all, of the principal characters wind up dead by the final shot. So it ought not constitute a “spoiler” to note that Jean-Pierre Melville’s Le...

Aug 14, 2006 — The Bakery Girl of Monceau and Suzanne’s Career are not Eric Rohmer’s first films. By 1963, he had made several shorts and one feature, Le signe du Lion. Yet these two short works—with their meticulously charted Paris locations; their semidocumentary...

Jan 5, 2006 — A gray flannel ghost story in which the living haunt the dead, the least appreciated of Akira Kurosawa’s midperiod collaborations with Toshiro Mifune throws open the windows of Japanese corporate corruption.

Nov 21, 2005 — Why would ambitious filmmakers simply film an opera? Many admirers of the work of Michael Powell and Emeric Pressburger have assumed that their decision to make The Tales of Hoffmann, in 1950, was in some way an admission by the...

Aug 22, 2005 — Featuring a brilliant, idiosyncratic performance by Michel Simon, Jean Renoir’s early comedy is a commendation of loitering as the antidote to efficiency and perfection.

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...

Jun 23, 2003 — Alain Resnais’s antidocumentary never purports to “document” the heinous realities of the Holocaust; instead, it interrogates our responses.