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.
Released to ecstatic reviews in 1998, Steven Spielberg’s film soon suffered a backlash. Twenty-one years on it has finally come of age.
Many films enjoy exaggerated reputations, but it is almost impossible to underestimate the beauty, truth and importance of Vittorio De Sica’s Bicycle Thieves.
When great art heralds great change, it often experiences a difficult birth. Bonnie and Clyde is a seminal moment in American film that almost never happened.
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.
John Huston’s film of Dashiell Hammett’s classic novel was the third adaptation. How did he succeed where others had failed?
Best known for his crime dramas, Martin Scorsese’s adaptation of Edith Wharton’s romantic novel is one of his most incisive works.
Guillermo del Toro says he is “in love with monsters.” In Pan’s Labyrinth, set in the Spanish Civil War, he uses them to navigate history and the world.
Francis Ford Coppola’s radical adaptation of Joseph Conrad’s novella is one of the most astonishing achievements in the entire history of cinema.
Emily Brontë’s novel has been filmed over 25 times. Is there a line between radical interpretation and reckless desecration?
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.
How do you cast a movie star in a story about a Princess who does not want to be a Princess? You cast an unknown. Ladies and Gentlemen, Audrey Hepburn.
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