We had come to expect Chantal Akerman’s periodic gifts of small and large cinematic gems. Certain of this flow, we were devastated when, all too abruptly, we were forced to think of her latest film, so beautiful, as her last.
Read More
Related Posts:
[The Daily] Sundance 2018: Robert Greene’s Bisbee ’17 “Originality has never been a problem for documentarian Robert Greene, whose films Actress and Kate Plays Christine have freely crossed the lines between fly-on-the-wall realism and overt artificiality,” writes Noel Murray f… Read More- On the Channel: Introducing 10 Minutes or Less To introduce a new section of short pieces on the Criterion Channel, we’re sharing a video about one of Orson Welles’s favorite actorly aids: prosthetic noses.
Read More
… Read More
- New UK Releases for January 2018 This month, we’re bringing two essential Criterion editions to the United Kingdom: Andrei Tarkovsky’s 1962 debut feature, Ivan’s Childhood, a haunting depiction of World War II through the eyes of a young boy; and Delmer Dav… Read More
- [The Daily] Awards: Skandies, Césars, and More This year’s Skandies countdown has begun. Mike D’Angelo’s twenty-third annual survey of critics he knows and trusts is always one of most interesting of the many best-of-the-year lists to spend time with. There are nine cate… Read More
- [The Daily] Rotterdam 2018: Jan Svankmajer’s Insect “In what he describes as a ‘forward’ to this film, director Jan Svankmajer—talking straight to the camera and fluffing his lines repeatedly—admits that he doesn’t actually know what this, apparently his final picture, is abo… Read More
0 comments:
Post a Comment