The Bourne Cinema Conspiracy oakland Ida Lupino b. February 4, 1914, London, England d. August 3, 1995, Los Angeles, California, USA FilmographyBibliographyArticles in SensesWeb Resources One of the most important auteurs in 1950s cinema is one of the most marginal: Ida Lupino. Lupino’s first film as a director, Not Wanted, was to be directed by Elmer Clifton. By the time she was given another shot at feature direction, it was to handle the nearly all-woman cast in The Trouble with Angels. To understand Lupino’s work as both actress and director, one must consider the events that shaped her life. Lupino’s first screen role came about in a rather unusual fashion. In her initial screen appearance, Ida Lupino was billed as “the English Jean Harlow” and was forced to dye her hair platinum blonde. Never a team player, Lupino had quarrelled with Humphrey Bogart during the production of High Sierra, and vowed after the film’s completion that she would never work with the actor again. The next production of the Filmakers was Never Fear.
lambretta Man with a Movie Blog Movie: A Journal of Film Criticism Access the whole issue as one file here. Opening Choices Introduction Edward Gallafent & John Gibbs Tinker Tailor Soldier Spy: Significantly Ordinary Nathaniel Deyo Rio Bravo: Dude Walks into a Saloon Pete Falconer Similar Means to Different Ends: Lola Montés as a Punch in the Gut Anthony Coman Intimacy, ‘Truth' and the Gaze: The Double Opening of Zero Dark Thirty Christa Van Raalte Under the Skin: Cosmology and Individuation Catherine Constable Otto Preminger's Hand in the Initial Moments of Bunny Lake is Missing Lola Breaux Articles Intoxicating Stagecraft: Billy Wilder's The Lost Weekend and the Mysteries of Theatre in Film George Toles Daisy Kenyon (Otto Preminger, 1947) Michael Walker V. A Tribute to V. Obituary Charles Barr The Cinema of Nicholas Ray V. Letter From an Unknown Woman V. Audiovisual Essays The Phantom Carriage: A Revaluation John Gibbs & Douglas Pye Motifs of Movement and Modernity Patrick Keating Opening Choices: Notorious John Gibbs & Douglas Pye
Chinacinema.fr - le site du cinéma chinois Poto et Cabengo Sharunas Bartas : la joie de la tristesse Le texte sidéré que Leos Carax a écrit en 1995, en découvrant les premiers films du lituanien Sharunas Bartas (« De quoi sommes-nous la somme ? », ici, avec des portraits du cinéaste et de son actrice, Katerina Golubeva), donne la mesure de la déflagration provoquée par Trois jours (1991) et Corridor (1994), sortis ensemble en France en 1995, suivis de peu par Few of Us en 1996. D’une région épuisée par le régime soviétique et bouleversée par son effondrement, d’un petit pays qui venait de retrouver une indépendance fragile, surgissaient alors, coup sur coup, trois films qui avaient renoncé à parler (seul Trois jours compte quelques phrases) pour mieux faire voir et entendre le désespoir dont ils étaient nés. Les films qui ont suivi, The House (1997) et Freedom (2000), peuvent former un diptyque, dont un volet serait le renversement parfait de l’autre. Sharunas Bartas : la joie de la tristesse Réparer : Yervant Gianikian & Angela Ricci Lucchi J.
Film Reviews 66th Berlin International Film Festival—Part 3: Alone in Berlin—a working class couple opposes the Nazis By Bernd Reinhardt, 7 March 2016 Vincent Pérez’s film is a new adaptation of Hans Fallada’s novel Every Man Dies Alone (published posthumously in 1947). Two poor films on the Afghanistan war—Whiskey Tango Foxtrot and A War—and Jonás Cuarón’s Desierto By Joanne Laurier, 5 March 2016 Whiskey Tango Foxtrot is a semi-comic treatment of the tragic Afghan conflict; A War from Denmark is ostensibly a more serious effort. Deadpool: An anti-superhero? By Kevin Martinez, 3 March 2016 Although Deadpool tries to subvert the clichéd conventions of the superhero genre, the film is more than anything a conformist effort. Eighty-eighth Academy Awards: Hopeful signs amidst reactionary “diversity” campaign By Fred Mazelis, 1 March 2016 66th Berlin International Film Festival—Part 2: A critique of Europe’s refugee policy: On the Berlinale’s Golden Bear for Fire at Sea By Stefan Steinberg, 22 February 2016 F.W. Mr.