Jorjamado no cinema

Apr 28, 2003 — Federico Fellini both identifies with and satirizes the provinciality that forms his romantic comedy's central subject.

Apr 28, 2003 — The sense of the difficulty of a real assumption of adulthood gives François Truffaut’s final Antoine Doinel film an undercurrent of anguish, despite its surface lightness.

Apr 28, 2003 — François Truffaut’s short Antoine Doinel film exposes an entire universe of male adolescent experience.

Jan 6, 2003 — “No one would claim that Lubitsch’s German films were more important than his American ones (cf. Fritz Lang).” This was Richard Roud’s response to my piece “Ernst Lubitsch: German Period” in his Cinema: A Critical Dictionary. One could indeed ask...

Dec 9, 2002 — What makes Jean-Luc Godard’s classic so unique a viewing experience today, even more than in 1963, is the way it stimulates an audience’s intelligence as well as its senses.

Sep 23, 2002 — René Clair’s early sound film is an iconic vision of lower-class Paris bursting with charm and romance.

Nov 26, 2001 — Peter Weir’s first film to be released in America insists on the tangible power of spiritual life.

Nov 19, 2001 — Luis Buñuel’s drama is a seductive work that exemplifies, even as it studies, the perversity of human desire.

Sep 17, 2001 — Elmar Klos and I usually work as equal partners, but in this case he left me a free hand. He knows that I am not thinking of the fate of all the six million tortured Jews, but that my work...

Sep 17, 2001 — Jirí Menzel’s war comedy is an absurdist symphony of self-absorption and impotence.