Us

Jan 10, 2005 — Seijun Suzuki's penultimate film for Nikkatsu is a subversively funny account of the making of a model fascist.

Aug 2, 2004 — Dismissed as minor Jean Renoir, the film deserves better, especially when seen in the larger context of numerous American and European films of the 1950s and their shared preoccupation with theater and performance.

Jun 21, 2004 — Nouvelle vague euphoria was at its height when Jean-Luc Godard made his enormously clever third feature.

May 24, 2004 — Stray Dog, the ninth film directed by Akira Kurosawa, is a detective story that’s also meant to function as a commentary on the desperate social conditions of postwar Japan: a kind of neorealist cop movie.

Mar 13, 2004 — With uncharacteristic warmth and affection for human frailty, Ingmar Bergman raises the question of how love can possibly last forever.

Jan 5, 2004 — “Sometimes I think of my death,” Kurosawa has written: “I think of ceasing to be . . . and it is from these thoughts that Ikiru came.” The story of a man who knows he is going to die, the...

Sep 29, 2003 — Roman Polanski’s maiden feature would define his maverick status once and for all.

Aug 4, 2003 — Shohei Imamura’s lurid black comedy showcases the director’s passion for everything that’s kinky, lowlife, or irrational in Japanese culture.

Jun 23, 2003 — The following text is from Michael Töteberg’s presentation of a collection of Fassbinder screenplays (The Merchant of Four Seasons, Ali: Fear Eats the Soul, Fontane Effi Briest), which were published in Germany as Fassbinders Filme, Band 3 (Fassbinder’s Films, Vol....

May 26, 2003 — Despite its modest claims, Volker Schlöndorff’s twelfth film—about the near-civil war that raged in the Baltic provinces in the early twenties—is a jewel among his creations.