Shock Corridor

Apr 17, 2024 — Three of this month’s programs blast back to the turbulent midcentury moment when old Hollywood gave way to something new.

Jan 17, 2023 — One of contemporary cinema’s most provocative filmmakers launched his career with three deeply unnerving, deliriously genre-blending portraits of Europe.

Nov 13, 2019 — TIFF Cinematheque presents an eclectic selection of eleven films by the Japanese director.

Apr 3, 2018 — A little over a month ago now, we posted Marvel mon amour, a video by Daniel Raim in which Stan Lee looked back on working with his good friend Alain Resnais (above with Olga Georges-Picot in Cannes in 1968) on...

Mar 5, 2018 — Along with 132 short films and a slew of masterclasses, installations, discussions, and other events, the Berlin International Film Festival presented 253 features this year. I managed to catch twenty-seven of them, and Adina Pintilie’s Touch Me Not, winner of...

Feb 24, 2018 — New York. The Film Society of Lincoln Center and the Museum of Modern Art have announced the complete lineup for the forty-seventh New Directors/New Films festival, opening on March 28 with Stephen Loveridge’s Matangi/Maya/M.I.A. and closing on April 8 with...

Feb 16, 2016 — In Death by Hanging, Nagisa Oshima spins a complex aesthetic web around his documentary-like structure, packing detail, history, politics, and emotion into his surrealist inquiry into capital punishment.

Sep 20, 2013 — Did You See This?• J. Hoberman revisits Shock Corridor. • Watercoloring the movies • Donald Richie to be honored • Time Bandits’ journey to the screen • Adam Curtis’s documentary attack • Howard Hampton slacks off. • Agnès Varda then...

Jan 18, 2011 — In his Life Studies poem “To Speak of Woe That Is in Marriage,” Robert Lowell wrote of “free-lancing out along the razor’s edge,” a lean, glamorous, tense phrasing that invokes the Samuel Fuller of the early sixties—a director suddenly without...

Nov 27, 2008 — Despite Samuel Fuller’s career-long penchant for giving controversial subjects a punchy, exploitation-movie spin, his twenty-first feature was the first to suffer outright suppression.