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Hastily made and by conventional standards plainly incomplete, De Palma’s latest straight-to-home release thriller ‘accidentally’ makes for a riddle as rich as the director’s more micro-managed film games, writes Brad Stevens.
Tuesday 5 November 2019
Varda by Agnès, the director’s final film, offers another glimpse of her performative auteur persona – and continues her own tradition of conflating the roles of in front of and behind her camera, writes Brad Stevens.
Wednesday 17 July 2019
Two comparable sequences from very different Holocaust films takes us back to a time when we still lent images moral meaning, writes Brad Stevens.
Tuesday 11 June 2019
In the frame shots bracketing her 1920 western-with-an-automobile Something New, the silent-film pioneer wrote her own claims to cinematic authorship directly into the movie – decades before men coined the auteur theory, writes Brad Stevens.
Wednesday 1 May 2019
What do you do with an actor who refuses to take direction? Marlon Brando was too wild for Stanley Kubrick, whereas Arthur Penn built The Missouri Breaks around his performative anarchism. But perhaps Kubrick had already learned the lesson working around Peter Sellers on Lolita, writes Brad Stevens.
Monday 25 March 2019
Barry Levinson’s Bernie Madoff biopic brings together key facets of the actor’s star persona, as he plays an opportunistic individual who is nevertheless rigorously self-controlled, writes Brad Stevens.
Thursday 28 February 2019
From Anna Karina in Vivre Sa Vie to Bruce Willis in Twelve Monkeys, when movie characters watch films, it’s often an intensely sorrowful experience. Could this be the way cinema expresses its self-conscious sadness about its own transience, asks Brad Stevens.
Monday 21 January 2019
After languishing unfinished for decades, does the now-completed movie carry a message from the auteur who first imagined it, or does it instead remain a tantalising cinephile puzzle, asks Brad Stevens.
Friday 21 December 2018
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