As Testemunhas

Sep 29, 2015 — The opening title sequence is an essential part of any film, establishing tone, mood, and purpose, but it can also be a little self-contained masterwork of its own. As this new piece for Art of the Title demonstrates, the opening...

Sep 29, 2015 — Merchant Ivory Productions’ sun-kissed romantic comedy is an effervescent tale of class and manners among the Edwardian English.

Sep 28, 2015 — Many of the most romantic moments in movies are the results of decidedly unromantic real-life on-set moments. As Helena Bonham Carter reveals in this candid new interview clip, that was certainly the case with A Room with a View and...

Sep 28, 2015 — Rarely has schizophrenia been closer to the surface of American cinema than in the transitional period of 1968–71. Hollywood had just abandoned its censorship code after nearly thirty-five years, and the behemoth studios were heaving and rattling into oblivion or...

Sep 24, 2015 — It’s a film that stars David Bowie, so it should come as no surprise that Nicolas Roeg’s The Man Who Fell to Earth is as richly layered sonically as it is visually. However, although Bowie wrote songs for the sci-fi...

Sep 24, 2015 — Bruce Beresford critiques the British colonialist era in this precise, layered adaptation of a 1939 novel by Joyce Cary.

Sep 24, 2015 — More light is about to be shed on the era of Bob Dylan’s career immortalized in D. A. Pennebaker’s Dont Look Back. The latest installment of Dylan’s Bootleg Series has just been announced for a November 6 release, and it...

Sep 24, 2015 — The French Lieutenant’s Woman is a film with the look of a lush period piece and the structure of postmodern metafiction. When it came time to design the cover, we wanted something that would emphasize the ways the film makes...

Sep 23, 2015 — Bruce Beresford draws on a controversial episode of Australian colonial history from 1901 to create an electrifying drama that questions the moral certitude of war.

Sep 22, 2015 — Two precocious youngsters try to carve out a corner of the world just for themselves in Wes Anderson’s alternately melancholy and boisterous tale of growing pains.