Moving

Dec 11, 2012 — Philip Glass’s experimental operas and symphonic works of the 1960s and ’70s laid the groundwork for his hypnotic Qatsi scores.

Dec 5, 2012 — The following is excerpted from an interview that originally appeared in the February 1, 1981, issue of L’avant-scène: Cinéma. It was conducted by Olivier Eyquem and Jean-Claude Missiaen. Eyquem is a documentalist and former staff member at Positif; he blogs...

Dec 4, 2012 — Misunderstood by Hollywood, embraced by critics, this fatalistic fantasy remains Terry Gilliam’s ultimate trip.

Nov 20, 2012 — For a brief, shining moment, the genteel Japanese studio mutated into a fun house of grim ghouls and slimy aliens.

Nov 6, 2012 — When Akira Kurosawa made Rashomon (1950), he was a forty-year-old director working near the beginning of a career that would last fifty years, produce some of the greatest films ever made, and exert a tremendous and lasting influence on filmmaking...

Oct 25, 2012 — The following piece by Sunday Bloody Sunday screenwriter Penelope Gilliatt originally appeared as the introduction to the 1971 U.S. publication of the script. A friend of mine who had started scrubbing at fourteen and went on to be a barmaid...

Oct 12, 2012 — Every ten years since 1952, the world-renowned film magazine Sight & Sound has polled a wide international selection of film critics and directors on what they consider to be the ten greatest works of cinema ever made, and then compiled...

Oct 11, 2012 — Repertory PicksBAMcinématek in Brooklyn is looking back to the nineties for a celebration of the period in American and British independent cinema when a wide array of gay and lesbian artists built their own movement. The series Born in Flames:...

Sep 28, 2012 — Every ten years since 1952, the world-renowned film magazine Sight & Sound has polled a wide international selection of film critics and directors on what they consider to be the ten greatest works of cinema ever made, and then compiled...

Sep 26, 2012 — Countercultural icons Paul Bartel and Mary Woronov makes square subversive in Bartel’s cult classic.