The Dark Side of the Screen
Although it can be traced to German Expressionism and French Poetic-Realism, Film Noir is quintessentially an American idiom. Not a genre but a mood, it centres on fatalistic dread.
Although it can be traced to German Expressionism and French Poetic-Realism, Film Noir is quintessentially an American idiom. Not a genre but a mood, it centres on fatalistic dread.
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.
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.
Bong Joon-Ho embraced every cliché of the serial killer genre to examine masculinity, institutional repression and national identity.
Francois Truffaut once claimed ‘cinema’ and ‘Britain’ were incompatible. Powell and Pressburger proved him wrong.
Francois Truffaut created the auteur theory, and with Day for Night he delivered a tribute to the art form without which he felt his life could not make sense.
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 writers are told to write from experience, is Charlie Kaufman’s adaptation of Susan Orlean’s non-fiction book not really Kaufman’s autobiography?
The films that really changed the course of cinema are often ones few people have seen.
Most movies about moviemaking are little more than trite tributes. Are there any that go beyond the surface of the silver screen?
Four actresses received Oscar nominations for their performances in All About Eve. Great script, great acting… but a great movie?
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