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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.
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.
This short video-essay position Ingmar Bergman’s Persona in terms of what came after it and what went before. It shows how Bergman visualised his central theme of identity.
Once “too revolutionary”, Dziga Vertov’s avant-garde masterpiece is now felt in Man on Fire, Ratatouille and Inception.
Long thought to be a satire on bourgeoise marriage, Luis Buñuel’s masterpiece is really a study of the traumas suffered by a sexual assault victim.
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.
In a career that spanned over sixty years, forty films and a dozen masterpieces, Persona is the most unusual film in Ingmar Bergman’s canon.
Christopher Nolan’s time-warping mind-bending classic left many audiences very confused. But the director left more than enough clues to make sense of it.
Originally, surrealism set out to shock. But it has become such a normal element in cinema, has it lost its original power?
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