Tag Archives: Ingmar Bergman

401. Close Encounters of the Third Kind

For my final podcast, I look at how Steven Spielberg effectively remade his first feature, Firelight to deliver a message of hope.

397. Mulholland Dr.

Puzzling audiences ever since it premiered at Cannes in 2001, David Lynch’s dark masterpiece seems to address the abuse of women in the film industry.

396. L’Avventura

With this modernist masterpiece, Michelangelo Antonioni told a story that abandoned its initial plot. Booed at Cannes, it paved the way for a new cinematic form.

394. Amarcord

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.

382. A Separation

Asghar Farhadi’s Oscar-winning divorce drama delivers a story that is specific to a particular time and place yet also manages to resonate on a universal level.

380. Ugetsu Monogatari

Kenji Mizoguchi’s masterpiece owes a great debt of gratitude to Kazuo Miyagawa’s luminous, shimmering cinematography.

376. The Passion of Joan of Arc

In Carl Theodor Dreyer’s silent masterpiece, the story isn’t so much told through Joan’s eyes as much as we read it on her face.

352. Roma

Alfonso Cuarón has long flirted with the neorealist style. His latest masterpiece, Roma illustrates cinema is not about what you show, but how you show it.

344. The Double Life of Veronique

Krzysztof Kieślowski avoids all the clichés of doppelgängers, doubles and lookalikes to deliver a meditation on freedom.

330. Aguirre, the Wrath of God

Werner Herzog’s hallucinatory telling of a Conquistador’s search for El Dorado etches a landscape of greed on the human face.

322. Yi Yi

As the title to Edward Yang’s masterpiece indicates, Yi Yi is a series of doubles; narrative, thematic, visual and aural, that deliver a subtle family portrait.

320. Cries and Whispers

Cries and Whispers was Ingmar Bergman’s fourth colour film but with a palette of just black, white and red, he still painted deep emotions and vivid dreams.

319. 2001: A Space Odyssey

For all its groundbreaking effects and narrative innovation, this owes a debt to a romantic fantasy and a Soviet propaganda film.

303. Blowup

Originally titled A Girl, a Photographer and a Beautiful April Morning, Michelangelo Antonioni’s Palme d’Or winner is still as enigmatic fifty years on.

302. Festen

William Shakespeare, Sigmund Freud, Ingmar Bergman and John Cassavetes are just some of the disparate influences on view in Thomas Vinterberg’s masterpiece.

296. Un Chien Andalou

This film lasts seventeen minutes, features mutilation, insects and dismemberment. Yet it is one of the most influential ever made.

290. Babette’s Feast

In adapting Karen Blixen’s short story, Gabriel Axel chose to omit the politics and focus on the religious parable. But really, it works best as a recipe for life.

278. The Rules of the Game

Reviled and banned upon its release, then seemingly destroyed and lost forever, Jean Renoir’s The Rules of the Game stands today as a victory for liberalism.

267. Great Openings – Part Two

What makes for a great opening? Character? Conflict? Poetry? Hopefully, more than something we’re supposed to just look at.

264. if….

Despite being labelled fascist and an insult to Britain, if… won the Palme d’Or at Cannes in 1969. Almost half a century later, it still retains much of its power.

257. A.I.: Artificial Intelligence

It is incorrectly assumed that Steven Spielberg turned Stanley Kubrick’s dark story into another of his child-friendly fantasies.

249. All About My Mother

Once dismissed as The King of Kitsch, this masterpiece proved Pedro Almodovar was really a laureate of liberalism.

246. Dreams

If the dream sequence is a crutch for many dull thrillers, horrors and mysteries, what makes a good one? One that challenges and stretches cinematic language.

242. Great Sounds – Part One

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.

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