World Within, World Without

Oct 23, 2010 — In 1945, a teenage Stanley Kubrick was given a job as staff photographer at Look magazine, where he published more than nine hundred striking images, most of them in the realist style of New York School street photography. By the...

Sep 28, 2010 — “The past, again and again.” —Major Jack Celliers, Merry Christmas Mr. Lawrence Nagisa Oshima’s filmmaking career began with the risen sun—or rather, with the promise of a sun soon to rise: Tomorrow’s Sun (1959), a dizzyingly designed faux “coming attraction”...

Sep 21, 2010 — Warrendale: Man of ActionAllan King was one of cinema’s most acute chroniclers of unadorned reality, but the term documentary seems too puny to describe the intense, passionate stories he contrived to fashion from that reality. King’s early nonfiction features are...

Aug 9, 2010 — Now that Terry Zwigoff’s Crumb is fifteen years old, it seems pretty safe to say that it has evolved from a potential classic to actually being one. But what kind? A documentary portrait of a comic-book artist, musician, and nerdy...

Aug 9, 2010 — San Francisco filmmaker Terry Zwigoff’s first cinematic effort, the 1985 Louie Bluie, is a wry, ribald, and magical portrait of the country-blues string band player and irrepressible raconteur Howard Armstrong (a.k.a. Louie Bluie). This catchy, engaging sixty-minute documentary, a clattering...

Jun 16, 2010 — What seems so extraordinary to me about Mystery Train, watching it again twenty years after its deadpan arrival, is not just how fresh and vivid—how utterly timeless—it remains but the extent to which it truly embraces both the myth and...

May 27, 2010 — Dismiss from your mind, momentarily at least, the John Ford we know, who could define himself with the three words “I make westerns.” Before Stagecoach (1939), Ford’s talking pictures played out in submarines, penitentiaries, and Scottish castles, in Mesopotamia, colonial...

May 25, 2010 — In the films of Stan Brakhage, the viewer’s role must be reimagined: from a passive receiver to one who meets the film halfway, actively plumbing the depths of its imagery and the various themes and ideas suggested by its subject...

May 20, 2010 — Driven to Destruction Nagisa Oshima was a destructive force in Japanese cinema—and he wouldn’t have had it any other way. Intent on exploding taboos and jabbing the eye of the status quo, he created films that leave us with a...

Apr 26, 2010 — In the late 1940s, driven by the opening-night ovations for A Streetcar Named Desire, Tennessee Williams embarked on more than a decade of immense success. During this period, he wrote at a furious pace: Summer and Smoke, The Rose Tattoo,...