The Kiss in the Tunnell, Cendrillon, L’Affaire Dreyfus, Le Diable au couvent, King John
The production of Werner Herzog's Fitzcarraldo, in which several people lost their lives or had their bodies mutilated, is often held up as an example of courageous art on the part of the director. It is no such thing, and it's long past time the filimic community cast a more critical eye on Herzog's mystique.
Everyone in Songs from the Second Floor is dead and as stagnant as the city's traffic. They wear ghoulish makeup and are covered in the ashes of Eliot's wasteland.
The Astronomer's Dream, Un homme de têtes, Panorama pendant l'ascension de la Tour Eiffel, The Famous Box Trick, Querelle de matelassière
The shift from bright the pinks and blues of children's rooms to whites and blacks or dark blues show Geneviève's and Guy's painful growth from youth to adulthood.
Here's how I would rank them if I were a member of the Academy -- along with some loose notes on each:
Gardens, however, completely lacks the aspirational element that seems to be a requirement of cable reality TV.
Woman in the Dunes (1964) dir.Hiroshi Teshigahara The form of Woman in the Dunes is horror, but its soul is a family tragedy.
The Surrender of Tournavos, The Corbett-Fitzsimmons Fight, After the Ball, the Bath, Joueurs de cartes arrosés, Mr. Edison at Work in His Chemical Laboratory
Le manoir du diable, Rip Van Winkle, The Cabbage Fairy, The Kiss, L'arrivée d'un train en gare de La Ciotat
Wintergardenprogram, Annabelle Serpentine Dance, The Arrest of a Pickpocket, Le repas de bébé, Employees Leaving the Lumière Factory
Dickson Experimental Sound Film, Annabelle Butterfly Dance, Fred Ott's Sneeze, Falling Cat, Corbett and Courtney Before the Kinetograph, La Carmencita
Pauvre Pierrot, Fencing, Handshake
Je vous aime, Dickson Greeting, Two Fencers, Newark Athlete, La Vague
Monkeyshines, No. 1, Monkeyshines, No. 2, Mosquinha, London's Trafalgar Square
The beginning of cinema is a story of murder, mystery, and miraculous invention.
Both Donald Trump's allies and opponents use the language of dystopia to make their case.
Both Pasolini and Kubrick want to show us how objectification feels from the object's point of view.
"For irony, there never was a past," Kierkegaard wrote.
Helen's blind mother most literally doesn't have a gaze of her own. She, more than anyone, is the most aware of Mark's gaze and of its danger.
While Dostoevsky, Huxley, Kubrick and others might give their Inquisitors convincing arguments, it is always clear that they are on the side of the rebels.
Hitler was reportedly a big fan of Metropolis and of Lang's work in general. He seems to have fancied himself as Freder.