Our House

Feb 17, 2015 — It was never, of course, Yasujiro Ozu’s intention that An Autumn Afternoon (1962) should be the final film of his thirty-­five­-year career as a writer­-director. Indeed, before he died on his sixtieth birthday, in December 1963, he had made notes...

Jan 20, 2015 — Here he is: the real, unreal Guy Maddin, in his phantasmagorical, polymathic stew of sex, memory, and dreams.

Jan 13, 2015 — Rainer Werner Fassbinder’s characters play an endlessly layered game of dress-up in this tale of sadomasochistic love.

Dec 28, 2014 — In person, Sam was a blunt-nosed nonconformist, small of stature but forever leading with his Cuban cigar.

Nov 4, 2014 — In cinema history, there truly is no gag like a Tati gag.

Oct 28, 2014 — What you hear is as crucial—and as funny—as what you see in Tati’s films.

Oct 27, 2014 — Though he emerged from established stage and screen comedy traditions, Tati invented a completely new filmic language.

Oct 21, 2014 — Federico Fellini’s frantic tragicomedy is such a classic it risks being underestimated.

Oct 16, 2014 — This past August, on the occasion of Volker Schlöndorff’s being selected for a Silver Medallion award by the Telluride Film Festival, Criterion’s Peter Becker talked with the German filmmaker about his long career. A short version of the conversation was...

Oct 2, 2014 — The following is a chapter on The Innocents from cinematographer Freddie Francis’s memoir, The Straight Story from “Moby Dick” to “Glory.” It is reproduced here courtesy of Scarecrow Press. The last picture I worked on as a cinematographer in my...