Perched between compulsive citation and the kind of brooding, morbid anxiety that might characterize an older, more world-weary filmmaker, L...
Perched between compulsive citation and the kind of brooding, morbid anxiety that might characterize an older, more world-weary filmmaker, L...
Boiled down to its essential actions, Robert Bresson's final film L'Argent might just resemble a bunch of people opening and closin...
At one point during the long, enthralling, unpredictable conversation between theater professionals and long-time acquaintances Andre Gregor...
Just before Bela Tarr finally settled on the characteristic black-and-white, long-take formalism that he's become widely respected for i...
The Sacrifice is the unusual brainchild of Andrei Tarkovsky and Ingmar Bergman, two of my favorite filmmakers, and as such there’s no reaso...
For all its admittedly surreal flourishes and bonkers left-turns, Santa Sangre is actually provocateur Alejandro Jodorowsky's least an...
Fanny and Alexander represents Ingmar Bergman's most pointed and personal evocation of the crisis of faith he witnessed in his youth, a...
( This is a tardy contribution to Adam Zanzie's John Huston Blogathon over at Icebox Movies . The celebration ran from August 5th to Au...
By virtue of its tumultuous production, Werner Herzog's Fitzcarraldo has managed to give credence to the outlandish critical notion tha...
At the center of George Sluizer's original 1988 version of The Vanishing (that is, before he made the inconceivable move to recreate it...
With Paris, Texas , German-born director Wim Wenders shows a knack for capturing the essence of America's heartland with more grit, hone...