
This holiday season, we’re bringing our United Kingdom audience two sharply written portraits of New York family dysfunction with our editions of Wes Anderson’s brilliantly stylized ensemble comedy
The Royal Tenenbaums and Noah Baumbach’s . . .
Read More
Related Posts:
[The Daily] Cannes 2017: Claude Lanzmann’s Napalm “Of all of the documentaries made about North Korea by Westerners in recent years, Claude Lanzmann’s Napalm, which premiered Sunday out of competition at Cannes, is by far the most peculiar, not to mention the most brazenly … Read More
Dheepan: Things Fall Apart In one of the first major films to confront the contemporary refugee crisis in Europe, Jacques Audiard brings a genre-busting approach to an explosive subject.
Read More
… Read More
Seventy Years of Cannes: Blow-Up in 1967 Continuing my trip through Cannes history, today I’m focusing on one of the most celebrated works of Italian master Michelangelo Antonioni, who became an international sensation partly thanks to the booing and heckling he en… Read More
[The Daily] Roger Moore, 1927–2017 “He was the epitome of the suave English gent, quipping sweatlessly in a bespoke three-piece suit, who enjoyed an acting career spanning eight decades,” writes Benjamin Lee for the Guardian. “On Tuesday, Roger Moore’s childr… Read More
[The Daily] Cannes 2017: Abbas Kiarostami’s 24 Frames “Cinema lost one of its pre-eminent pioneers when Abbas Kiarostami died on July 4, 2016,” writes Giovanni Marchini Camia at the Film Stage, where he notes that 24 Frames “was as good as finished” at the time of his passing. … Read More
0 comments:
Post a Comment