Work

Sep 23, 2002 — The theatricality of Alfred Hitchcock’s thriller makes the point that psychoanalysis is a sister to cinema rather than a rival.

Sep 23, 2002 — In 1940 and 1941, David O. Selznick won back-to-back Academy Awards for Best Picture. In 1942, unsurprisingly, he was depressed. His wife, Irene, persuaded him to seek help, and, less than one year later, hale and hardy, he was eager...

Aug 19, 2002 — René Clair’s musical comedy comprises a window on a particular lost black and white neverworld—bouncy with melody, soaked in spring light, wistful about the conflicted relationship between serendipity and love.

Jun 3, 2002 — Ronald Neame’s character study examines a talented, eccentric artist, who is also difficult, conniving, uncouth, and thoroughly disreputable.

Jun 3, 2002 — By any standard, The Horse’s Mouth shines as an outstandingly personal work from a decade that often seems the most arid in British cinema. Amid tepid comedies and timid thrillers, it sparkles with conviction and eccentricity—at least that’s how it...

May 13, 2002 — In Barbet Schroeder’s portrait of Ugandan dictator Idi Amin, we watch a seemingly amiable, thoroughly pompous despot attempt to transform himself into a figure of heroic proportions.

Mar 4, 2002 — Wong Kar-wai’s biggest commercial success to date elevated him to the mainstream of international art house cinema, and it echoes the end of an era with pure melancholic power.

Feb 14, 2002 — Robert Bresson’s second feature is fixed in history as one of the movies that heralded an austere, modernistic way of seeing and feeling.

Feb 11, 2002 — Miloš Forman’s film is an amazing balancing act of subtle social satire and adolescent romantic longing, of blank despair and irrepressible hope.

Jan 21, 2002 — A fresco conceived on a majestic scale, Marcel Carné’s masterpiece sweeps its audience back to the 1820s, painting the detail of a world obsessed with both theater and crime.