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.
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.
In Agnes Varda’s classic, Corrine Marchand plays one woman; happy Cléo and anxious Florence, walking about Paris in real time awaiting her medical results.
Cristian Mungiu won the Palme d’Or for his unflinching drama about a single day in the lives of two young women.
Reviled and banned upon its release, then feared lost forever, Jean Renoir’s masterpiece stands today as a victory for liberalism.
What makes for a great shot? Beauty? The lens? Lighting? Combine them and you have more than just an image.
In his Poetics, Aristotle wrote that drama needs a unity of space, time and action. How does cinema deal with such restrictions?
When a filmmaker enters the realm of autobiography, the result is all too often soaked in nostalgia. Bruce Robinson’s Withnail & I is fermented in fine wine.
This extended video-essay examines the application of colour in production design from A Voyage to the Moon and Ben-Hur through to Avatar and Gravity.
Once upon a time, in a galaxy far, far away, George Lucas built his own cinema empire. But American Graffiti, made in his hometown, is his masterpiece.
Under Rob Reiner’s direction, William Goldman’s script excised all of the supernatural elements of of Stephen King’s short story and became a surprise hit in 1986.
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