Lee Broughton is a freelance writer, critic, film programmer and educator. His work on film and the media has appeared in an assortment of edited collections, trade publications and journals. His books include 'The Euro-Western: Reframing Gender, Race and the Other in Film' (I.B. Tauris, 2016), 'Critical Perspectives on the Western: From A Fistful of Dollars to Django Unchained' (Rowman and Littlefield, 2016) and 'Reframing Cult Westerns: From The Magnificent Seven to The Hateful Eight' (Bloomsbury Academic, 2020). You can find Lee on Twitter @LeeVanBee
A Fistful of Dynamite finds Sergio Leone working on a massive canvas of intricately choreographed scenes that telegraph the chaos and the brutality of the Mexican Revolution.
Amicus Productions provide a smorgasbord of macabre thrills and atmospheric chills with two superior films from their quaint line of quirky portmanteau horror features, The House That Dripped Blood and Asylum.
The title suggests that this would be a schlocky B movie with a '70s-style grindhouse aesthetic, but The Man Who Killed Hitler and Then The Bigfoot is, in fact, a finely crafted and emotionally charged drama about ageing, loneliness, and lost love.
Rivette's 'Paris nous appartient' Nods to McCarthyism, Communist Witch Hunts, and Cold War Paranoia in the USA
Jacques Rivette's first French New Wave film, Paris nous appartient, is infused with the look and feel of Hollywood's more paranoid, conspiratorial and apocalyptic films noir.
Much like his former colleague Ken Russell, Derek Jarman knew which buttons to press when seeking to outrage the UK's moral majority.
Social realist films would spearhead the so-called British New Wave and Woodfall Films produced some of the New Wave's best and most enduring examples of the form.
Jacques Rivette's film features two female characters who exhibit feminine strength and solidarity in a masculine world.