Film Portrait

Jul 24, 2012 — Trained as a musician, Jean Grémillon became one of French cinema’s most lyrical artists. His most beloved films were made during World War II.

Jun 25, 2012 — For this Edinburgh-based writer and filmmaker, Hitchcock’s Scottish caper is both fantasy and reality.

Apr 25, 2012 — Pearls of the Deep: Alumni AssociationIn the mid-1960s, there was a brief window during which a remarkable cinema of ideas and visual experimentation flourished in Communist Czechoslovakia. This fecund period lasted approximately five years, from 1963 to 1968, when it...

Apr 24, 2012 — Among the most widely seen photographs of Hollis Frampton is one of him as a young man, a self-portrait taken in 1959, if we are to trust the narration he composed to accompany its inclusion in his 1971 film (nostalgia)....

Apr 5, 2012 — Repertory Picks The neorealist roots of Michelangelo Antonioni’s art are on full display this weekend at New York’s Museum of the Moving Image. The series Antonioni Documentaries is the culmination of a string of events in New York over the...

Mar 27, 2012 — Written in five or six days in 1941, in a seaside hotel where he had gone to get away from the Blitz, and by all accounts scarcely revised before being mounted some six weeks later, Noël Coward’s Blithe Spirit became...

Mar 1, 2012 — Louis Malle’s God’s Country is a remarkable account of one hamlet in the heartland of the United States—Glencoe, Minnesota—as seen first in 1979 and then again in 1985. Malle was fascinated by what he saw as a very American brand...

Feb 14, 2012 — For nearly three decades, Hideo Gosha (1929–1992) made some of the most explosive, artful, and original films in Japanese cinema. Along the way, he also became one of his country’s most established and acclaimed filmmakers. But his reputation in the...

Jan 18, 2012 — Poto and Cabengo: Three-Part Harmony Jean-Pierre Gorin’s three Southern California movies are so militantly unclassifiable that terms like documentary or essay film seem as hopelessly out of sync with the recalcitrant and frequently exhilarating works themselves as a Marxist harangue in...

Jan 17, 2012 — “I felt they showed more of me than they’d said they were going to,” Catherine Deneuve remarked to Pascal Bonitzer in 2004, about the making of Luis Buñuel’s 1967 Belle de jour. “There were moments when I felt totally used....