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.
With his Palme d’Or winning debut, Steven Soderbergh made a modern classic as well as a how-to manual for film students.
For a film that requires so many special effects in order to create the feeling of weightlessness, how did Alfonso Cuarón still keep Gravity so grounded?
Intersectionality, hyperlink cinema and cinema diaspora are some terms you can apply to Monsoon Wedding. Another is #MeToo.
The impact of Gillo Pontecorvo’s masterpiece is so great that it extends far beyond cinema and into terrorist organisations, as well as the US Pentagon.
Akira Kurosawa’s Rashomon is celebrated for asking what is truth. Which is more than a little ironic, because that’s not what it is really about.
Orson Welles was one of cinema’s true geniuses but was he correct in claiming that two things cinema couldn’t honestly depict were prayer and sex?
Steven Soderbergh’s drama is fifteen years old but came of age the instant it was released because it dared to reimagine the war on drugs.
This extended video-essay examines the innovations at the heart of cinema, focusing on how cinema is coping with the move from Hollywood to Silicon Valley.
Out of Sight is about second chances and it helped the three main players; Steven Soderbergh, George Clooney and Jennifer Lopez to relaunch their careers.
Belonging to a tradition that dates back to Rebel Without a Cause, Richard Linklater’s early masterpiece also owes some debt of gratitude to Robert Altman.
The greatest trick the devil ever pulled was to convince the world he didn’t exist. Is this the greatest heist movie ever made?
Akin to a 70s’ conspiracy thriller, Michael Clayton is also a character study with strong turns from George Clooney, Tilda Swinton and Tom Wilkinson.
When is a remake not a remake? When is a re-imagining not a reboot? And most pertinent, when are any of them ever any good?
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