A Man Escaped
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.
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.
Tom Wolfe’s superb account about the early days of NASA’s space program needed filmmakers who shared a daring similar to the maverick pilots.
Widely regarded as the greatest war picture ever made, Elem Klimov’s Come and See takes its title from The Book of Revelations to deliver a vision of hell.
Released to ecstatic reviews in 1998, Spielberg’s film soon suffered a backlash. Far more complex than first thought, 21 years on it has finally come of age.
No matter how cinematic, all films are nothing more than a form of writing that borrows from other forms of writing. Which is why Arrival comes in code.
What if science-fiction were not a literary genre but a political and ideological theory. If so, Alex Garland uses Ex Machina to show us how he sees the world.
How can Vikings sustain its drama? Battles are an option but what makes a good battle? It must be more than life and death.
Ever wondered where snow comes from? That and all manner of other wonders – and horrors – are uncovered in Tim Burton’s classic fantasy.
Writing, producing, directing and starring in his own films Jacques Tati was a true auteur, influencing the likes of David Lynch, Tim Burton and Wes Anderson.
Regarded as the greatest gangster picture of them all, the passing years continue to reveal new layers and meanings in Francis Ford Coppola’s masterpiece.
Upon its release, Munich was attacked for historical inaccuracy, political naivety and moral equivalency. But it is one of Spielberg’s greatest works.
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.
What makes a classic film? The plot’s originality, director’s vision, or the star’s magnetism? Paradoxically, any, all, yet none of the above. It’s the audience.
For all of 2001’s groundbreaking special effects and narrative innovation, Stanley Kubrick owes a bit of debt to a romantic fantasy and a Soviet propaganda film.
Precious few films celebrate the joys of riding a bike. Haifaa Al Mansour’s Wadjda is more than just a celebration; it is a dissection of an entire culture.
Un Chien Andalou is barely seventeen minutes long, features mutilation, dismemberment and lots of insects. Yet, it is one of the most influential films ever made.
In ancient Greece, all violence took place off stage. How can filmmakers show the violence of the Holocaust without exploiting the memory of the victims?
As Hollywood found the formula for the modern blockbuster, Warren Beatty embarked on a project examining the origins of American communism.
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.
The influence of Fritz Lang’s Metropolis extends far beyond sci-fi and can be seen in films are varied as Casablanca, An American in Paris and The Birds.
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.
It is incorrectly assumed that Steven Spielberg turned Stanley Kubrick’s dark story into another of his child-friendly fantasies.
All films begin at a keyboard. But whether the film is about screenwriters, journalists, novelists or composers, how does cinema depict the art of writing?
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.
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