Sunday, August 7 2011
Spiritual possession, screwball comedy, German kinks, and the quintessential American Western genre are among the disparate characters we shine a light on today as PopMatters counts down the 100 Essential Film Directors. Today we look at George Cukor through John Ford. Who falls in the middle might surprise you...
Monday, April 4 2011
New DVD provider RaroVideo USA is coming out of the gate with two lavish Criterion-worthy releases: The Clowns and the Fernando Di Leo Crime Collection. One is nominally "arty" and the other "lowdown", but the lines deserve to be blurred.
Tuesday, March 15 2011
Federico Felleni's remembering makes for a combined dream, a whitewashed history, and a striking portrait of a small Italian town during the rise of Fascism.
Monday, May 3 2010
Nearly a half-century since its release, 8 1/2 is a testament to Federico Fellini’s singular artistic vision and to the enduring joy of creative experience.
Tuesday, March 24 2009
As part of its "Essential Art House" series, the Criterion Collection reissues Fellini's 1954 masterpiece, featuring a nonpareil performance by Giulietta Masina.
Thursday, July 24 2008
Did Fellini dream more extravagantly, with better art direction and more fluid crane shots than you or I?
Tuesday, May 27 2003
The fusion of the real and the imaginary is at the center of Fellini's first and one of his most underrated films, The White Sheik.
Wednesday, October 1 2014
This anthology of Italian films explores the taboos of love: prostitution, suicide, and girl-watching.
Wednesday, September 26 2012
With wealth comes privilege, and entitlement, and nowhere is this more obvious than in the films featured at number four as part of Sight & Sound's Best Films of All Time list.
Friday, September 2 2011
100 Essential Directors celebrates directors of distinct vision, who have honed their respective crafts, who have brought something new and exciting to the medium, and who continue to push the boundaries of the form.
Sunday, January 10 2010
Nothing is more fulfilling than the creative process. Nothing is more tormented, either. Usually, the ends justify the means, the art produced (or in some