400. The 400 Blows
In January 1954, Francois Truffaut wrote a landmark essay on film criticism. Five years later, he put his theory into practice and cinema never been the same since.
In January 1954, Francois Truffaut wrote a landmark essay on film criticism. Five years later, he put his theory into practice and cinema never been the same since.
Like many Fellini films, Amarcord is a contradiction; an account of his youth yet a complete fabrication, a vivid realisation of the past, but also a dream.
Cristian Mungiu won the Palme d’Or for his unflinching drama about a single day in the lives of two young women.
Perhaps the greatest ever film about an artist, Andrei Rublev steadfastly refuses to show its subject painting let alone him holding a brush in his hand.
Widely regarded as the greatest war picture ever made, Elem Klimov’s Come and See takes its title from The Book of Revelations to deliver a vision of hell.
The world is so noisy, we unconsciously filter out all that we don’t want to hear. Much of film sound operates in the same way.
Is Krzysztof Kieslowski’s trilogy only about liberty, equality and fraternity? Look again and you’ll find it also addresses fate, coincidence and co-existence.
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