The movements of the camera in Melville's Un flic attempt to overcome one of the most inscrutable divides in existence.
The Story of Temple Drake grapples with the unbidden, unsettling force of emergent sexuality.
Fellini is the master of blurring the lines between the real and the surreal, demonstrating the overriding imbrication of the familiar and the fantastic. In The White Sheik, currently playing at NYC's Film Forum, he inspires wonder and bemusement.
Although enjoyable in that sweeping big picture kind of way, there is nothing subversive to be found in Ted Gioia's Music: A Subversive History.
In Climate Machines, Fascist Drives, and Truth, political theorist William E. Connolly explores how our assumption that the world is made for us has led us into a dangerous complacency.
The Film Forum in New York City is showing Yasujirô Ozu's Tokyo Twilight for a limited time from Friday, 8 November to Thursday, 14 November. This is a film that one needs to savor and contemplate, a film that captures the tribulations of this world and the evanescent truth that lies beneath them.
Bellocchio's best work, Fists in the Pocket (I pugni in tasca) is key to understanding the stark shift Italian cinema experienced in moving from the post-realism phase of the 1950s into the experimentalism, social commentary, and surrealism of the 1960s.
The key to understanding Burt Lancaster's contribution to film lies in the physicality of his portrayals. Film Forum, New York, showcases many of his films starting today.
It is the impossible demand placed on the woman that drives the engine of Agnès Varda's One Sings, the Other Doesn't.
Luchino Visconti's oft-misunderstood Death in Venice (Morte a Venezia) tenderly explores how beauty stares back at us and demands that we accept and acknowledge its terrible contradictions.
Ingmar Bergman's Shame is one of his few films so blatantly concerned with the impositions of the external world,as opposed to the internal, subjective aspects of life.
Franz of Berlin Alexanderplatz doesn't occupy a privileged space of sovereignty over the world. He's not the avatar for divine individuality that we so often take ourselves to be.
Childhood friends are tricky. They're the friends you leave behind but can never completely escape. Elaine May conveys this with disruptive technique in Mikey and Nicky.
Kierkegaard's existential rumination on our impossible relation to an incommensurable and unknowable God informs much of Bergman's work, and most certainly Scenes from a Marriage.
The soul projects meaning onto a world that resists it. This is the plight of existence for Poe.
One way to understand the form of Walther Ruttmann's Berlin, Symphony of a Great City, is to see it as producing states of flow that reinforce a flat ontology among humans, animals, machines, buildings, bodies of water, etc.
Chekhov is engaging with an underlying, rumbling, non-event that pervades life and yet is nearly always blithely ignored. His stories move us in their ability to excavate this subterranean, haunting static that informs all experience.
The inability to communicate truthfully and accurately runs like a red thread through the course of Robert M. Young's western, The Ballad of Gregorio Cortez.
There's a rotten core at the center of Lubitsch's Heaven Can Wait. No matter how engaging I find Haskell and Sariss's enchantment with the film, I cannot accede to their critical adulation of it and of Henry.
At the Crossroads of Pity and Revolt: Intensity and Time in Lino Brocka's 'Manila in the Claws of Light'
Lino Brocka's Manila in the Claws of Light seethes with rage against colonial oppression without ever becoming overt agitprop.