Trace

Oct 23, 2006 — The New Zealand director’s debut feature is a bridge between her tentative, probing film school works and her subsequent female character studies.

Aug 14, 2006 — The appearance of Eric Rohmer’s Six Moral Tales in the midst of the sixties’ sexual revolution brought unexpected sobriety to the European sexual drama and the comedy of erotic manners. Their stateside popularity successfully challenged the sauciness and candor audiences were...

May 22, 2006 — Barbara Kopple’s detailed analysis of a Kentucky mine workers’ strike is a virtual hub of urgent themes, formal tendencies, political debates, and material practices that define post-sixties documentary in America.

Apr 17, 2006 — In the absence of a finished, definitive edit of Orson Welles’s enigmatic project, three writers dive into the unsolvable mystery of the film and the different versions presented in the Criterion edition.

Mar 27, 2006 — The Italian drama marked the first full blossoming of director Vittorio De Sica and screenwriter Cesare Zavattini’s ongoing collaboration.

Feb 21, 2006 — Kind Hearts and Coronets (1949) is an Ealing comedy in name only. True, it’s undeniably a comedy and was made by (though largely not at) Ealing. But in virtually every other respect, it deviates startlingly from the commonly accepted stereotype....

Sep 19, 2005 — Jane Campion is a rarity, not simply because she is a world-class female director, but because she has devoted her career to exploring female subjectivity.

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

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 — Embracing the world while pretending to sneer at it, Henri-Georges Clouzot’s crime film is rich, deep, and wily.