The Aesthetics of Absorption: Truffaut’s ‘The 400 Blows’

By Chadwick Jenkins

In Truffaut, the camera works not to keep the viewer out of the constructed reality of the film but rather to draw the viewer into the artifice, to make the viewer complicit in its feigned reality [2 April 2009]

An Auteur’s Touch of Evil

By Shaun Huston

The auteur is dead, long live the auteur: Orson Welles and Touch of Evil, 50 years on. [19 March 2009]

The Red Violin: Meridian Collection

By Shaun Huston

The violin is symbolic of our investment of objects with meanings and desires beyond their immediate uses, and it continues to entrance and engage even after the film's final shot. [21 July 2008]

Silk

By Jake Meaney

A beautiful movie. So very, very beautiful. Achingly beautiful, excruciatingly beautiful, tear-inducingly beautiful. [26 March 2008]

Jules and Jim: Criterion Collection (1962)

By Cynthia Fuchs

'Truffaut had the dread of everything conventional. Above all, he detested the conventionality of the nonconventional,' Jean Gruault notes. [31 May 2005]

Monsieur Ibrahim et les fleurs du Coran (2003)

By Cynthia Fuchs

Omar Sharif observes, 'It's very difficult for me to find parts at my age, because I have this very peculiar accent which is neither French nor English nor Italian. I'm sort of a foreigner.' [6 July 2004]

Monsieur Ibrahim et les fleurs du Coran (2003)

By Cynthia Fuchs

Ibrahim is the sage, charismatic, and plainly desired father figure in this sentimental tale. [12 February 2004]

Swimming Pool (2003)

By Cynthia Fuchs

Julie becomes Sarah's muse, her model, her irritant. [10 July 2003]

8 Women (2002)

By Elbert Ventura

Sabotaging the happy play of color, song, and glamour with a deeply felt despair, Ozon has finally made his subversiveness genuinely surprising. [19 September 2002]

Short Ends and Leader: Style Over Substance: Diva (1981)/ The Red Violin (1998)