And Then

Jun 25, 2018 — In a new episode of Observations on Film Art, scholar Jeff Smith examines how The Devil and Daniel Webster plays with the conventions of traditional Hollywood editing.

Mar 28, 2018 — Cinematographer Billy Williams talks about his experience creating the lush images and expressive lighting in Ken Russell’s boldly stylized adaptation of Women in Love.

Apr 7, 2017 — Filmmaker Brock DeShane pays heartfelt tribute to Jack H. Harris, the late cult-horror maestro who produced low-budget sensations like The Blob and Equinox.

Jun 4, 2016 — Wim Wenders’s road movies, Michael Almereyda writes, are “at once minimal and romantic, austere and lyrical,” focusing on questions—of individuals and society, culture and nature—that Wenders has returned to throughout his career.

Aug 3, 2015 — On film noir’s unparalleled roster of resonant titles—Kiss of Death, Out of the Past, and Where Danger Lives, to name three—none is more emblematic or iconographically cogent than Night and the City. Juxtaposing two of noir’s essential, virtually ontological qualities,...

Mar 9, 2015 — François Truffaut’s adultery drama is at times corrosively funny and at others frighteningly tense, but it’s always incisive and humane.

Jun 25, 2014 — Hearts and Minds is the classic antiwar documentary film of the Vietnam era. It was released in 1974, one year after the United States withdrew its military forces from Vietnam and a year before North Vietnamese and National Liberation Front...

Jun 23, 2014 — Peter Davis’s provocative, Oscar-winning Hearts and Minds, released to the American public in 1974, is that rare documentary whose truths and relevance have been underlined and amplified by the passage of time. The title is derived from President Lyndon B....

Nov 8, 2011 — Aflurry of publicity around Fanny and Alexander began well before the start of production. Ingmar Bergman said it would be his final film, and he allowed unusual media access to the set, even welcoming a pair of journalists who kept...

Oct 4, 2011 — Masaki Kobayashi rejects the notion of individual submission to the group, condemning the hierarchical structures that pervaded Japanese political and social life in the 1950s and 1960s.