In this excerpt from an interview on our edition of
The Piano Teacher, the Austrian director discusses the mechanics of one of the film’s most shocking sequences.
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Dark Passages: The Beautiful Crimes of Henri Decaë In her latest column, critic Imogen Sara Smith explains how cinematographer Henri Decaë brought a risk-taking spirit and seductive allure to some of the most iconic French crime films.
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… Read More- [The Daily] Film Journal and More From Catherine Grant comes word that the third issue of Film Journal is now online, and it’s got a theme: “Since the Lumière Brothers’ The Arrival of a Train at La Ciotat Station (L’Arrivée d’un train en gare de La Ciotat, 1… Read More
- [The Daily] Vivian Qu’s Angels Wear White Vivian Qu’s Angels Wear White premiered in competition in Venice, screened in the Contemporary World Cinema program in Toronto, and now heads into the Official Competition at the sixty-first BFI London Film Festival. Little … Read More
- [The Daily] NYFF 2017: Guadagnino’s Call Me by Your Name In the print edition of the current issue of Film Comment, we find Luca Guadagnino saying that “the true generator of the movies I try to make is Jean Renoir, and A Day in the Country is really the alpha and omega of Call Me… Read More
- [The Daily] In the Works: Chazelle, Leder, and More “American Gods star Pablo Schreiber will play astronaut Jim Lovell in Damien Chazelle’s moon-mission movie First Man,” reports Deadline’s Anthony D’Alessandro. In March, D’Alessandro noted that the story, based on James R. H… Read More
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