Hampi

Jan 9, 2017 — The glittering surfaces of classic fairy tales often mask undercurrents of emotional torment, spiritual foreboding, and moral transgression. This week, our latest series on the Criterion Channel, Happily Ever After?, showcases the deviant forces lurking within some of cinema’s most...

Jan 10, 2014 — Did You See This?• Reminiscing about Spalding Gray • The Little Tramp is turning 100. • For Dennis Cooper’s birthday, the beauty of Robert Bresson • Still Anger after all these years • Molly Haskell on a new Barbara Stanwyck...

Sep 29, 2009 — It’s been six years since Jane Campion last directed a feature film, but her earthy, melancholy new Bright Star, about the romance between poet John Keats and his great love, Fanny Brawne, was well worth the wait. And now that...

Oct 23, 2006 — The New Zealand director’s debut feature is a bridge between her tentative, probing film school works and her subsequent female character studies.

Howard Hampton has written for Film Comment, Artforum, and many other publications. He is the author of Born in Flames: Termite Dreams, Dialectical Fairy Tales, and Pop Apocalypses.

Hailing from New Zealand, the Oscar-winning director has made lush historical dramas, harrowing coming-of-age tales, and seedy detective thrillers—all united by an interest in emotional turmoil and the vagaries of desire.

Sep 19, 2017 — Last year, Dmitry Golotyuk and Antonina Derzhitskaya spoke with Jean-Luc Godard for the Russian publication Séance, and now Craig Keller has translated nine excerpts. The conversation evidently took place in Rolle, the modest town in Switzerland with a population of...

Sep 29, 2015 — The opening title sequence is an essential part of any film, establishing tone, mood, and purpose, but it can also be a little self-contained masterwork of its own. As this new piece for Art of the Title demonstrates, the opening...

Jun 25, 2012 — For this Edinburgh-based writer and filmmaker, Hitchcock’s Scottish caper is both fantasy and reality.

Dec 3, 2008 — Gliding on silvery reels of steel, and tricked out with Lars von Trier’s panoply of visual effects, the film ravishes with its elaborately storyboarded tunnel vision.