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.
This French masterpiece avoids all the clichés of American prison films while at the same time bearing an uncanny similarity to a 1960s’ Japanese action picture.
In Carl Theodor Dreyer’s silent masterpiece, the story isn’t so much told through the Saint’s eyes as it is read on her face.
Robert Bresson’s masterpiece is a perfect example of less is more; natural acting, minimal music, off-screen sounds and restricting yourself to a 50mm lens.
Films about writers are tricky propositions but you can roughly divide the genre into two eras; pre- and post-Mishima.
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.
For all its groundbreaking effects and narrative innovation, this owes a debt to a romantic fantasy and a Soviet propaganda film.
Taxi Driver was written in ten days by first-time screenwriter, Paul Schrader as a means to exorcise his festering, masochistic, narcissistic anger.
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.
In adapting Emma Donoghue’s award-winning novel, Lenny Abrahamson extends a cinematic tradition established by French master, Robert Bresson.
Mixing social history, European art film and a British melodrama, Wong Kar-wai delivered a masterpiece of aching beauty.
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