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Fathers Are People

Nov 8, 2011 With the very first shots of Fanny and Alexander (1982), director Ingmar Bergman announces his perspective and signals his intentions. Here, we find the ten-year-old Alexander gazing into a puppet theater, lifting layer after layer of skillfully painted backdrop. We...

Jean Vigo

Essays

Aug 31, 2011 Let there be no trouble, no pranks . . . Do you realize the enormity of our moral responsibility? —Headmaster in Zéro de conduite There is nothing in the history of movies that mirrors or matches the achievement of Jean...

Jan 11, 2011 His most personal film as well as the final one to deal with the German occupation of France, Jean-Pierre Melville’s thriller showcases human consciousness grappling with mortality.

Dec 7, 2010 Guillermo del Toro understands the power of fairy tales. Not the prettified romances of Charles Perrault, who tamed the Brothers Grimm for French drawing rooms, or the charming animal fables of Aesop, or the reassuring moral lessons Disney made of...

Oct 23, 2010 In 1945, a teenage Stanley Kubrick was given a job as staff photographer at Look magazine, where he published more than nine hundred striking images, most of them in the realist style of New York School street photography. By the...

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...

Jan 21, 2008 Married thrice and divorced from all of his wives at a time in Western culture when such marital fluctuation was rare, the playwright August Strindberg undoubtedly used his own dramatic life as a sourcebook.

Dec 1, 2006 We left St-Michel feeling uplifted and took a nice stroll south, past the Closerie des Lilas, the restaurant made famous by Hemingway, and through the Luxembourg gardens, where a film crew was laying dolly tracks and fitting counterweights on a...

Aug 28, 2006 Pietro Germi’s brilliant satire skewers Italian society’s devotion to appearances and its cultlike obsession with gossip and honor.

Jun 5, 2006 Painful, beautiful, and discomfiting, Maurice Pialat’s coming-of-age drama remains as startling in its honesty, its unique mix of savagery and delicacy, as it was in 1983.

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