All About Eve

Oct 12, 2010 — One Every movie is two stories: the one it tells and the one that remains to be told about it by those involved in its creation. These two narratives converge in a certain current of the cinema of the past...

Aug 17, 2009 — Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles is Chantal Akerman’s masterpiece, a mesmerizing study of stasis and containment, time and domestic anxiety. Stretching its title character’s daily household routine in long, stark takes, Akerman’s film simultaneously allows viewers to...

May 11, 2009 — Novelists learn not to expect too much when their books are made into movies. Obviously, great fiction has been turned into great cinema, but the dents and scrapes that so many classics have sustained on the rocky road from the...

Apr 9, 2009 — Andrzej Wajda’s Danton engages the subject of the French Revolution in a daring way. The Polish director took a very dim view of the events, a rather controversial perspective in France, where it was made, in 1983. In interviews on...

Jul 7, 2008 — Sometimes it’s pretty tough for me to divorce my inner fanboy from the (probably unrealistic) ideal of a business-only, detached producer. One such moment was when I saw that Anthony Mann’s The Furies was a part of our Paramount deal....

Oct 15, 2007 — One of Spain’s most acclaimed and prolific directors, Carlos Saura emerged as an artist in the late 1950s under Franco’s dictatorship and immediately made his mark as an incisive, if necessarily allusive, social and political commentator.

Oct 16, 2006 — Lodge Kerrigan’s grim, lucid dispatch from the murky depths of madness situates itself inside the tormented consciousness of a schizophrenic.

Oct 16, 2006 — Screenwriter Carlos Cuarón delves into the character played by Astrid Hadad

Mar 27, 2006 — Louis Malle’s World War II–era drama follows a young collaborationist in rural France and asks how people with no interest in politics become active participants in brutal torture.

Jan 5, 2006 — A gray flannel ghost story in which the living haunt the dead, the least appreciated of Akira Kurosawa’s midperiod collaborations with Toshiro Mifune throws open the windows of Japanese corporate corruption.