
Erich Von Stroheim and Cecil B. DeMille’s Fetishistic Films
Erich Von Stroheim’s films fetishised a scandalous poke to the public’s eye, whereas Cecile B. DeMille’s films obsessed over middle-class verities.

Erich Von Stroheim’s films fetishised a scandalous poke to the public’s eye, whereas Cecile B. DeMille’s films obsessed over middle-class verities.

Screenwriter Joe Orton’s specialty was throwing in queer and polymorphous sexuality during a period when English laws were loosening but homosexuals were still being arrested.

Cowboy hero Tom Tyler rides a horse, swings a fist, and saves a ranch in restored silent westerns The Law of the Plains and The Man from Nevada.

Michael Mann’s The Jericho Mile attempted to “artistically, realistically and philosophically” portray life in Folsom Prison but the prisoners were his toughest critics.

Cornell Woolrich’s premise that happiness is always just beyond reach grabs hold of noir thrillers Dark City, Beware, My Lovely, and No Man of Her Own.

What remains of Hobart Bosworth’s edgy strong silent type characters and his directing achievements cling to life in the few silent-era Hollywood films left to us.

Russian director Karen Shakhnazarov’s Soviet-era In the Moscow Slums and Zerograd are surreal, absurdist films rich in Impressionistic color.

Michael Anderson’s ’70s-era ecological horror Orca: The Killer Whale takes the whale’s POV and we won’t like what it sees.

Lamberto Bava’s gothic horror The Mask of Satan is a loose framework for ideas to showcase a delirious camera and the freaky makeup effects of Sergio Stivaletti.
The specters of Mississippi murder, uncontrollable teens and much, much more American-generated anxiety haunt the freak-out horror movie The Beast Within.
Amid the spectre of a sexually transmitted epidemic, b-movie Invasion of the Bee Girls gives viewers an intoxicating buzz.
From silent classics to Thai melodrama, home movies to Brazilian sambas, MoMA’s To Save and Project festival is catnip for international film buffs.