ATM

Aug 20, 2001 — Carl Dreyer’s modern tragedy eschews melodrama, striking a balance between suffering and triviality.

Jun 18, 2001 — Bathed in scarlet hues, Ingmar Bergman’s period drama is his most daring attempt to achieve a dream state on film.

Jun 3, 2001 — Jacques Tati’s singular satire is a series of giddy encounters between people and things in which the wonders of “modern life” relinquish their functionality in favor of an unaccountably rapturous beauty.

May 7, 2001 — test

Apr 23, 2001 — A majestic synthesis of disparate forms, Sergei Eisenstein’s final film seems to be as much a ballet or a moving painting as it is a movie.

May 15, 2000 — Herk Harvey described to me a strange outdoor ballroom he had seen rotting on the shores of the Great Salt Lake. . . and said he’d like to make a film about creatures rising from the lake and doing a...

May 15, 2000 — Horror movies take place in their own territory. The trick is to get us there. It doesn’t matter whether they start with fantastic premises and gothic settings, or with ordinary neighborhoods and daily experience, because the places and assumptions change...

May 15, 2000 — In René Clair’s ebullient early talkie, an unsentimental love of humanity permeates every frame.

May 15, 2000 — Twenty-five years after its first appearance, Bergman’s film of The Magic Flute remains the finest screen version of an opera ever produced. Shot in sumptuous color by Sven Nykvist, and featuring some of the finest Nordic singers of the day,...

Apr 24, 2000 — “Most of Aesop’s fables have many different levels and meanings. There are those who make myths of them by choosing some feature that fits in well with the fable. But for most of the fables this is only the first...