Akira Kurosawa walked a fine line in his treatment and portrayal of women in his films, and he didn’t always walk it without stumbling.
As a painter and filmmaker, Akira Kurosawa stuck to his own style, informed heavily by traditional Japanese painting as well as European impressionists and expressionists, another arena of art where he answered to both Eastern and Western influences.
After creating two masterpieces in Ikiru and Seven Samurai, Kurosawa put his genius on display on three more brilliant films that were unlike anything he had previously done.
DeMille’s ‘The Greatest Show on Earth’ is about spectacle and how people make a living fabricating gargantuan, silly, and sometimes dangerous fodder for the gawping public.
Kino Lorber’s latest Forbidden Fruit crop yields The Lash of the Penitentes, The Wages of Sin, and Misery and Fortune of Women.
Bustament’s Efraín Ríos Montt-inspired La Llorona reimagines the Latin American folk tale of a woman mourning her children along the banks of the river where they drowned.
At the release of his latest film, Black Bear, director Lawrence Michael Levine talks about the struggle of bringing artistic order to real-world chaos.
Are the injustices allegedly committed by actor Armie Hammer worth muzzling ‘Crisis’, a film that’s a window into the widespread injustices of Big Pharma?
Virginie Despentes’ feminist arguments in her recently rebooted collection of essays, King Kong Theory, remain fresh and frustratingly relevant.
Director D. Mitry talks with PopMatters about his debut feature film, My True Fairytale, whose story aligns with the tragic loss of his daughter.