The Sin

Feb 12, 2007 — Vittorio De Sica’s seminal drama renounces “egoism” for collective concern, envisioning a cinema of impassioned social conscience.

Jun 19, 2006 — Decades after its backyard birth, Jack Woods’s DIY horror movie has forged a model of inspiration for succeeding generations of effects artists and low-budget filmmakers.

Jun 19, 2006 — This essay originally appeared in the fanzine PHOTON (issue #22), in 1972. Stop-motion animation has been attracting a growing number of enthusiasts for about the last ten years, and though it seems the majority of these people must out of...

Jun 27, 2005 — Ko Nakahira’s Nikkatsu Studio youth flick helped transform postwar Japanese cinema.

Jun 9, 2003 — In Stan Brakhage’s films we enter into momentary perceptual transactions in which we trade unhindered assimilation of images for intensified contact with pictorial or sensory features that might otherwise go unnoticed.

May 26, 2003 — Derek Jarman’s early film epitomizes the despairing and angry mood of Britain in the mid-seventies—a country facing economic recession, virtual war with the IRA, and an uncertain post-imperial future.

Aug 19, 2002 — Ronald Neame’s dramedy has the distinction of being the only “feel-good” realistic spy film ever made, walking a fine line between topicality and escapism.

Nov 19, 2001 — Alfred Hitchcock’s first film in Hollywood is his earliest definitive statement on male domination and female subjugation.

Aug 28, 2000 — Alberto Lattuada’s gifts for dramatic narrative were joined for the first and last time with Federico Fellini’s flair for cartoonish satire and lyrical sentiment.

Feb 1, 1999 — Rob Reiner’s directorial debut documents a recent moment in the band’s checkered history—one that only coincidentally represents a brief decline in the sine wave of their careers.