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From What Is Before

Feb 13, 2006 Jean Renoir’s classic film shows the natural world and the power of technology as wedded through the closely coordinated labor—effected through glances and sign language—of two men.

Oct 24, 2005 When Samurai Rebellion premiered, on May 27, 1967, the original Japanese title was Joiuchi—hairyo tsuma shimatsu, which means something like Rebellion—Receive the Wife. This title indicates the two concerns of the film: the social impact of an unheard-of act of...

Oct 24, 2005 Mirroring changes in awareness, politics, and lifestyle occurring across the globe, the chanbara (or Japanese swordplay film) underwent a significant metamorphosis in the early 1960s, acquiring a decidedly more radical spirit. Seemingly without warning, groundbreaking cinematic styles from beyond the...

Jul 25, 2005 Seijun Suzuki’s drama sees sexuality as a potent anarchic force that, in its implacable selfishness, brushes aside any sort of order or discipline.

Early Summer

Essays

Jul 19, 2004 In Yasujiro Ozu’s hands, the extended-family drama widened its focus to encompass friends, neighbors, and employers.

Feb 16, 2004 Ronald Neame’s Tunes of Glory (1960), which was widely admired when it was first released, has subsequently kept a low profile. This says more about critical attitudes and British film culture than it does about the quality of the movie....

Le Corbeau

Essays

Feb 16, 2004 Henri-Georges Clouzot took the standard ingredients of the Continental-Films detective movies and used them to make something darker and more complex—to make, in fact, the first classic French film noir.

Maîtresse

Essays

Feb 2, 2004 Barbet Schroeder’s tale of two lovers executes their affair against a backdrop of jaw-dropping sadomasochistic activity.

Sep 29, 2003 Fassbinder had long dreamed of a “German Hollywood film.” He sought not only success with the audience, but also professionalism. The auteur film in its purest form is an attempt to abolish the division of labor: the filmmaker represents in...

May 26, 2003 Transcription of a speech given by long-time Derek Jarman collaborator and friend, actress Tilda Swinton

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