Dead Again

Apr 21, 2008 — Juan Antonio Bardem combines neorealism with noir thriller to create a new dialect that would forge a new Spanish cinematic language.

Feb 18, 2008 — Actor and writer Linda Sandoval met Alex Cox in 1983, when her husband, Miguel Sandoval, was cast in Repo Man (she recalls that Cox phoned to say he had good news and bad news: the bad news was that Miguel...

Jan 21, 2008 — As late as 1970, Alf Sjöberg’s boldly experimental 1951 adaptation of August Strindberg’s play was declared as inaugurating “a new cinematic language.”

Jan 21, 2008 — While Agnès Varda was prescient in picking up on the new social phenomenon of France’s young female drifters, she also anticipated the culture of extreme individualism that has come to dominate Western society since the 1980s.

Oct 6, 2007 — In Gus Van Sant’s first feature, gayness—blind, unembarrassed homosexual lust—is the narrative’s driving force.

Jun 18, 2007 — Yasujiro Ozu had already directed forty-five features by the time he started work on Early Spring, in 1955, but the artistic and commercial success of his previous film, Tokyo Story (1953), had rejuvenated him.

May 21, 2007 — In January 1948, British film producer Sir Alexander Korda, head of British-Lion and London Film Productions, commissioned novelist Graham Greene to write and research “an original postwar continental story to be based on either or both of the following territories:...

Apr 23, 2007 — Louis Malle’s documentary work adopts certain tenets of cinéma direct—improvisation, minimal crew, the refusal to organize reality—and applies them to a consistently class-conscious, outsider perspective.

Mar 16, 2007 — The first of his films to be shown outside Japan, Ichikawa Kon’s twenty-seventh feature dramatically raised the director’s profile.

Jan 22, 2007 — A delightfully old-fashioned morality tale, Robert Day’s low-budget space flick is far more than the standard monster fare it was initially sold as.