In Gefahr und größter Not bringt der Mittelweg den Tod

Sep 3, 2007 — Iwas a cab driver once myself (in Los Angeles, in the mid-1970s), and I’ve been sensitive ever since to how the profession is portrayed on the screen. As it happened, I was driving a cab when Taxi Driver came out,...

Jul 9, 2007 — Hiroshi Teshigahara’s late work is a masterful amalgam of high international modernism and traditional Japanese fine arts.

May 21, 2007 — Carol Reed’s masterpiece dives deep into the life and mind of screenwriter Graham Greene, one of Britain’s greatest postwar novelist.

Mar 16, 2007 — The first of his films to be shown outside Japan, Ichikawa Kon’s twenty-seventh feature dramatically raised the director’s profile.

Feb 12, 2007 — The trailblazing career of the extraordinary singer, actor, and activist was pivotal to the emergence of a black film aesthetic and, by extension, an African-American cultural identity.

Aug 14, 2006 — In terms of consistency of both the content and form of his films, Eric Rohmer is without a doubt one of the most distinctive auteurs in the history of cinema. As with the work of Yasujiro Ozu, within min­utes—seconds, even—of...

Oct 24, 2005 — Kihachi Okamoto’s subversion of the samurai movie possesses the same gritty, stark realism with regard to imagery and body count, yet the tone is decidedly comic.

Oct 24, 2005 — Mirroring changes in awareness, politics, and lifestyle occurring across the globe, the chanbara (or Japanese swordplay film) underwent a significant metamorphosis in the early 1960s, acquiring a decidedly more radical spirit. Seemingly without warning, groundbreaking cinematic styles from beyond the...

Apr 25, 2005 — Andrzej Wajda’s first feature film marks the beginning of the Polish School, the paradigm of Polish cinema that arose from the political and cultural thaw of the mid-1950s.

Aug 18, 2003 — Ingmar Bergman’s chamber film is his most concentrated inquiry into the significance of religion, and of Lutheranism specifically.