Come and See

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 12, 2011 — After Army of Shadows, Melville and I stayed in touch . . . One day, he announced: “I’m going to make a new film. You’re not composing the score for it; I’ve contacted Michel Legrand . . .” Of course, I was disappointed....

Mar 28, 2011 — Topsy-Turvy is both an anomaly among the films of Mike Leigh and, contrary as it may seem, a Rosetta stone. On the one hand, it is Leigh’s only costume picture and only biopic—a far cry from the bittersweet, realistic films...

Feb 22, 2011 — Andrea Arnold seemed to emerge out of nowhere with Red Road (2006), her revelatory, shrewdly observed debut feature about voyeurism and sexual revenge. That film won Arnold multiple awards, and she had already earned an Oscar for her short Wasp...

Aug 13, 2010 — The Docks of New York When John Grierson, the Scotsman whose absolute devotion to realism on film—he coined the word documentary and created the National Film Board of Canada—was asked how he’d enjoyed a screening of a now-lost Josef von Sternberg...

May 25, 2010 — Between 1952 and 2003, depending on how the various serial works are counted, Stan Brakhage made somewhere between 350 and 400 films, about half of them short film poems under ten minutes in length, most of the rest between ten...

Mar 16, 2010 — More than a decade after his death in 1997, the moment is right for the rediscovery of the work of Marco Ferreri. “I think he’s modern. More than modern, in fact,” frequent collaborator Marcello Mastroianni once remarked, encapsulating how far...

Jul 14, 2009 — Tough title to live up to. The lofty three-word phrase Al Reinert chose for his 1989 documentary on the Apollo space program comes from the plaque the first men on the moon, Neil Armstrong and Buzz Aldrin, left there in...

Nov 23, 2008 — The possession of a real voice is always a marvel, an almost religious thing.

Apr 21, 2008 — Juan Antonio Bardem combines neorealism with noir thriller to create a new dialect that would forge a new Spanish cinematic language.