One Girl For Two Men

Sep 17, 2013 — The author sheds some light on the fascinating life of the American scriptwriter behind Roberto Rossellini’s Paisan.

Apr 23, 2013 — Who is Pierre Etaix and where has he been all your life? This is the story of a filmmaker who was vanished, banished, skipped over. It’s as if one of those invisible cubicles mimes are always getting themselves shut in...

Jul 6, 2012 — Samuel Fuller wrote this extraordinary “interview” piece shortly after White Dog was completed. It appeared in issue 19 of the journal Framework in 1982, with this introduction: “The director of Paramount’s White Dog interviewed the title actor of the movie...

Aug 30, 2011 — A startling blend of fantasy and reality, Lindsay Anderson’s satirical tale of adolescent rebellion personifies the 1960s.

Jan 24, 2011 — A character-driven tale of driven characters whose professional triangle trumps their romantic one, Broadcast News (1987) takes place after the fall of the Equal Rights Amendment and before the fall of the Berlin Wall—a time when gender wars and cold...

Nov 26, 2010 — Early in Peter Bogdanovich’s The Last Picture Show, as the wind from the Texas plains whips the small town of Anarene, the high-school senior Sonny Crawford (Timothy Bottoms) halts his recalcitrant pickup truck—Hank Williams is warbling “Why Don’t You Love...

Oct 18, 2009 —  So many worlds stream in from every direction in Monsoon Wedding that it comes to seem as if the whole globe is converging on a single family home in New Delhi: relatives from Houston, from Australia, from Dubai (“Muscat, actually”);...

Jun 23, 2008 — Five years of increasingly horrific news from the former Yugoslavia made Milcho Manchevski’s searing yet lyrical film timely to a degree that few filmmakers have ever achieved.

Jan 21, 2008 — Agnès Varda seizes the kind of immediacy and tension associated, at the start of the sixties, with the cinema verité documentary movement and uses it to create a new form of fiction.

Aug 14, 2006 — La collectionneuse is a strong, sensuously lush, deceptively slight film, a Riviera fruit with a bitter, uncompromising aftertaste. In retrospect, it is both classically Rohmeresque and atypical, as befits a film in which the director was still finding his way....