Screen
The unspoken space between
When writer/director Jason Hall’s brother returned home from the 1990s conflict in the Middle East, he did so with his “arms and legs and...
A matter of persistence
The legacy of Orson Welles looms large in the history of cinema. So large, even Welles himself fell into its blackness.
“The word genius was...
Lady liberty triumphant
If a revolution could ever be distilled into a single image, then let it be Delacroix’s commemoration of the French Revolution’s July 1830 victory,...
Three came back
Hollywood Producer Samuel Goldwyn said it straight: “I don’t care if the film doesn’t make a nickel. I just want every man, woman and child in America to see it...
‘True’ crime
Boston was in a panic. Thirteen women were murdered from June 1962 to January 1964. All were in their homes; all were alone. There...
See you on the other side
You don’t know it at first, but this is purgatory. Well, a way station might be a better description. Regardless, all the clients who...
‘Demolition’ takes a sledgehammer to grief
Before you can fix something, you must first take it apart. Before you can be reborn, you must first be destroyed.
That line of thinking...
The collective ‘Ahhh!’
The cinema has few theorists as gifted as David Bordwell. Film Art: An Introduction, co-written with Kristin Thompson and Jeff Smith, is taught in...
That’s a wrap
The 45th Denver Film Festival concludes this weekend with a full slate of features and shorts, documentaries and narratives, and even a party or...
‘How it feels to be black’
Rediscovering Gordon Parks with Criterion’s release of ‘The Learning Tree’
Three colors, three ideas, three masterpieces
The colors belong to the French flag, the corresponding ideas to the Republic: blue, white and red — liberty, equality and fraternity. For France,...
