Of the two loosely connected films that comprise an unintentional diptych of the American law system, Werner Herzog's My Son, My Son, Wh...
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Of the two loosely connected films that comprise an unintentional diptych of the American law system, Werner Herzog's My Son, My Son, Wh...
Dualities abound in Michael Haneke's latest film, The White Ribbon . The title refers to the white cloths that a Pastor (Burghart Klaußn...
Having directed over 50 features and acting as producer on more than 300, Roger Corman established himself as a skillful craftsman with an u...
Claire Denis' The Intruder is loaded with Marxist Dialectics, the kind of suggestive cutting collisions that were pioneered by Sergei E...
Bela Tarr puts me into a trance. If you haven't been able to infer from my numerous appreciations of his films in the past, I can...
How does a filmmaker induce a state of hypnosis in his audience, partial or otherwise? Ask Lars Von Trier, master of subtlety, and he'll...
First client, dinner, lessons, leisure, bedtime, morning, breakfast, cleanup, errands, dinner prep, lunch, coffee break, second client, pota...
Nagisa Oshima's Empire of Passion involves a plot that could work its way into any average mystery, thriller, or melodrama (and indeed ...
The decade's most revealing, complicated, and self-lacerating filmmaker surrogate is Caden Cotard (Phillip Seymour Hoffman), standing in...