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.
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.
Of the four adaptations of Octave Mirbeau’s controversial novel, Luis Buñuel’s version is by far the most faithful… and radical.
Werner Herzog’s hallucinatory telling of a Conquistador’s search for El Dorado etches a landscape of greed on the human face.
Pather Panchali translates into English as Song of the Road, but the production was so arduous and fortuitous it should be called Song of Miracles.
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.
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.
Reviled and banned upon its release, then feared lost forever, Jean Renoir’s masterpiece stands today as a victory for liberalism.
All boring films are alike; every great film is great in its own way. Christopher Nolan’s Dunkirk belongs not just to the latter but amongst the greatest ever made.
What makes for a great shot? Beauty? The lens? Lighting? Combine them and you have more than just an image.
Robert Altman’s best films capture cultures in transition. Nashville marked the moment politics and celebrity intermingled to create space for Donald Trump.
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