Made in Heaven

Jun 5, 2017 — Catherine Grant points us to the new issue of the open access journal Film-Philosophy. Before we begin paging through it, let’s have a look at a piece by Benjamin Crais which the Notebook ran last December:For Anglophone readers, Jean Louis...

Jun 3, 2016 — During the second incarnation of this festival dedicated to movies preserved on nitrate film, Jared Case, the festival’s executive director, talks about his work bringing the Nitrate Picture Show to life, selecting this year’s films, and why nitrate remains a...

Jun 20, 2013 — The prophetic voice of H. G. Wells resonates throughout this singularly ambitious, spectacularly designed vision.

Jul 12, 2011 — Naked is the angriest, most bitterly critical attack on the false values of society that Mike Leigh, Britain’s constant chronicler of the tragic comedy of desperate lives, has ever made. Its audacity is that the attack is mounted through a...

Apr 18, 2011 — An Eagle for an Emperor, a Gyrfalcon for a King;   a Peregrine for a Prince, a Saker for a Knight, a Merlin for a Lady;   a Goshawk for a Yeoman, a Sparrowhawk for a Priest,   a Musket...

Sep 29, 2003 — In May 1981, in the midst of shooting Lola, Rainer Werner Fassbinder sketched out his next film project: Sybille Schmitz. On the cover, he had written, “Story for a Feature Film*.” The asterisk pointed to this footnote: “It is possible...

Jun 21, 1999 — Laurence Olivier’s Henry V today seems like nothing less than a miracle in answer to the Chorus’s call for “a muse of fire that would ascend the brightest heaven of invention.” It’s a dazzling adaptation of a Shakespeare play, made...

Jun 19, 2014 — PerformancesTime has added some latter-day ironies to All That Heaven Allows, and not just the revelation that its star Rock Hudson was gay. There’s also the political career of Ronald Reagan, the ex-husband of Hudson’s costar, Jane Wyman—built on the...

Jan 23, 2019 — Checking in on how the nominees are currently faring with critics and awards prognosticators.

Sep 13, 2018 — The imitation of nature becomes a devotional act in Terrence Malick’s cinema, which reaches sublime heights in this exploration of childhood, memory, and grief.