305. Blow Out
Rear Window, Vertigo, Blowup, Weekend, the Zapruder film and The Conversation are all to be seen and heard in Brian De Palma’s Blow Out.
Rear Window, Vertigo, Blowup, Weekend, the Zapruder film and The Conversation are all to be seen and heard in Brian De Palma’s Blow Out.
How did a blasphemous, homosexual, Marxist, atheist manage to make the greatest film about the life of Jesus Christ?
Originally titled A Girl, a Photographer and a Beautiful April Morning, Michelangelo Antonioni’s Palme d’Or winner is still as enigmatic fifty years on.
William Shakespeare, Sigmund Freud, Ingmar Bergman and John Cassavetes are just some of the disparate influences on view in Thomas Vinterberg’s masterpiece.
We are told we watch horror films because they offer a vicariously thrilling, and thus safe experience. I don’t believe that. I believe horror films are instructive.
Described as the most evil film ever made, Henri George Clouzot’s masterpiece resembles Hemingway, Hitchcock, neo-realism and Casablanca.
David Cronenberg’s adaptation of George Langelaan’s short story is appropriately, a fusion of Icarus, Prometheus, Frankenstein and Beauty and the Beast.
While Paolo Sorrentino’s film follows in the footsteps of Federico Fellini and Michelangelo Antonioni, its quest arrives at a very surprising answer.
Francois Truffaut once claimed ‘cinema’ and ‘Britain’ were incompatible. Powell and Pressburger proved him wrong.
This film lasts seventeen minutes, features mutilation, insects and dismemberment. Yet it is one of the most influential ever made.
Jonathan Demme’s film is a classic because its Little Red Riding Hood plot mines the moral depths of its central characters.
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?
Kubrick’s controversial film remains relevant because of the Ludovico Technique’s conversion therapy: Pray Away the Gay.
Released in 1950, Max Ophuls’ adaptation of Arthur Schnitzler’s scandalous play is a landmark exhibition of theme and style operating in perfect harmony.
For thousands of years, drama theorists from Aristotle to Robert McKee have been telling writers that plot is everything. But is that all there is to drama?
In adapting Karen Blixen’s short story, Gabriel Axel chose to omit the politics and focus on the religious parable. But really, it works best as a recipe for life.
This hit from 1944 delivered one of the all-time classic Yuletide songs – Have Yourself a Merry Little Christmas – as well as redefined the musical genre.
With his Palme d’Or winning masterpiece, Jacques Demy wove more than a musical. He delivered a socially relevant story worthy of tragic opera.
As the US embraced Reaganomics and 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.
Woody Allen’s romantic drama draws from unusual sources; the Great American Songbook, Italian opera and Russian literature.
Long thought to be a satire on bourgeoise marriage, Luis Buñuel’s masterpiece is really a study of the traumas suffered by a sexual assault victim.
With Frank Pierson’s Oscar-winning script, Sidney Lumet’s thriller is a masterclass in breaking the basic rules of screenwriting.
All countries have troubled histories they would rather forget. The Leopard is a masterpiece that admits to those troubles as well as the failure to fix them.
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