Public Enemies (2009) A Film by Michael Mann

Every bullet fired in Michael Mann's Public Enemies signals death. It is not just a sound effect inserted to heighten chaos or extract ...

Boy Meets Girl (1984) A Film by Leos Carax

Perched between compulsive citation and the kind of brooding, morbid anxiety that might characterize an older, more world-weary filmmaker, L...

The Wedding March (1928) A Film by Erich von Stroheim

Erich von Stroheim's The Wedding March is one of the few works in the director's ambitious yet compromised canon still surviving in...

Belleville Tokyo (2010) A Film by Elise Girard

The two main characters in Elise Girard's Belleville Tokyo are named Marie and Julien, and the film is a story of them. They're mar...

Cries and Whispers (1972) A Film by Ingmar Bergman

There's a chilling image early on in Cries and Whispers that gets to the core of the film, perhaps even to all of Ingmar Bergman's ...

Screening Notes #13

Phone Booth (2002): Larry Cohen originally proposed the seed of this idea to Hitchcock, and it's no surprise. Decades later, Joel Schum...

Listmaking Blogathon

After reading my recent Vertigo essay - which resulted in a comment board casually ranking the best Hitchcock films - Loren Rosson III, a b...

Magic Mike (2012) A Film by Steven Soderbergh

These days, Steven Soderbergh's career seems to have reached the end point of a slow, insistent turn towards a path rarely traveled in H...

Love in the Afternoon (L'amour l'après-midi) A Film by Eric Rohmer (1972)

Of all the male protagonists in Eric Rohmer's Six Moral Tales, Frédéric (Bernard Verley) of Love in the Afternoon is the most tied down...