Passages

Sep 27, 2017 — In conjunction with a new edition of Stan Brakhage’s Metaphors on Vision, we’re sharing a selection from the opening pages of this seminal work.

Sep 26, 2017 — Let’s start today’s round with a few books. Next month sees the release of Movies That Mattered: More Reviews from a Transformative Decade, Dave Kehr’s followup to his 2011 book, When Movies Mattered. Before he became a curator in the...

Sep 25, 2017 — “During one of the meanest passages in American national politics within living memory,” writes Holland Carter in the New York Times, “we’re getting a huge, historically corrective, morale-raising cultural event, one that lasts four months and hits on many of...

Sep 5, 2017 — “If the only thing we wanted, or expected, a horror film to do was to get a rise out of you—to make your eyes widen and your jaw drop, to leave you in breathless chortling spasms of WTF disbelief—then Darren...

Sep 5, 2017 — Frederick Wiseman “is 87 now,” as Tom Charity notes in the new issue of Cinema Scope. “It may be a little presumptuous to suggest he’s reaching for a summation, but it is sure that he’s only making the films he...

Aug 2, 2017 — As Richard Misek explains in his introduction, the new “special issue of [in]Transition forms part of a collaborative project inspired by” the collection Indefinite Visions: Cinema and the Attractions of Uncertainty, edited by Martine Beugnet, Allan Cameron, and Arild Fetveit....

Jul 21, 2017 — Tarkovsky lover Geoff Dyer discusses the visual and sonic elements of one of the most haunting sequences in Stalker.

Jul 11, 2017 — A forged note brings chaos and corruption to the lives of everyone it touches in Robert Bresson’s devastating final film.

Jun 16, 2017 — Robert Kolker “is best known for his landmark study A Cinema of Loneliness: Penn, Kubrick, Coppola, Scorsese, Altman (1980), now in its fourth edition, as is his influential textbook, Film Form and Culture (1999),” writes Jonathan Kirshner for the Boston...

May 23, 2017 — “If you told me you could make a modern Christmas classic largely set outside a doughnut shop on Santa Monica Boulevard, centered on transgender prostitutes and shot on iPhones, I wouldn’t have believed you,” begins Ben Kenigsberg at RogerEbert.com. “But...