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A Family

Dec 16, 2013 Here at last comes the time of ecstasy, of trances.Those who refuse to their senses the gift of trances shall wither.Brothers in trances, when will freedom come?They threw me out of my land and country.May my star shine. [. ....

Dec 10, 2013 In 1998, I interviewed Little Edie Beale, the surviving star of 1976’s Grey Gardens, one of the Maysles brothers’ numerous masterworks (Gimme Shelter, Meet Marlon Brando, and With Love from Truman are equal in technical and emotional innovation). Miss Beale,...

Nov 18, 2013 When Tokyo Story was released in late 1953, Western audiences were just being exposed to Japanese cinema. Akira Kurosawa had made his breakthrough with Rashomon three years earlier, and Kenji Mizoguchi was moving to the forefront of the international festival...

Aug 5, 2013 For those of us who rank The Earrings of Madame de . . . at the top of our list of all-time favorite films, the mystery is why our passion isn’t universally shared. Every year, thanks to committed revival houses,...

Jul 25, 2013 The look of the dazzlingly evocative The Ice Storm is in large part the work of production designer extraordinaire Mark Friedberg (Far from Heaven, The Life Aquatic with Steve Zissou). In an illustrated audio interview on release of Ang Lee’s...

Jul 8, 2013 With its marvelous, distinctive camera work, Kenji Mizoguchi’s searing drama is as technically remarkable as it is humane.

Jun 17, 2013 The silent legend practices slapstick with clockwork precision in his most iconic, astonishing comedy.

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...

Feb 14, 2013 David Bordwell and Kristin Thompson’s textbook Film Art, a cornerstone of the cinema studies discipline, was first published in 1979 and is now in a tenth edition. Over the years, some sections have been taken out, either to make room...

Jan 22, 2013 Andrei Tarkovsky’s austere, minimalist, and poetic film was the first major accomplishment in an oeuvre that would become one of Russia’s main contributions to the treasury of world cinema.

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