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There Is No Wind At All When Citizen Kane opens, the audience hears its central figure, Charles Foster Kane, utter his final and mysterious word: “Rosebud.” No one knows what it means, and the remainder of the film’s narrative swirls around this final breath of life. What did he mean by it? That’s the key … Continue reading
In the hallowed halls of cinematic history there stand a few monolithic films, in the shadow of which all following films stand. 1927’s great, ever elusive Napoleon by director Abel Gance might be chiefest among them all. Not only is it a technical marvel that even few modern films can hold a candle to, it is also an … Continue reading
To the movie lover, no genre is more daunting than experimental and avant-garde. Some folks are averse to silents and musicals, but they do indeed have a discernable style and rhythm, a taste to acquire. When you settle in for an experimental film, however, it’s neigh-impossible to predict what you’re in for. And often, you’re … Continue reading
There are enigmatic directors out there: names like Stanley Kubrick and David Lynch might be counted as two of the, for instance. But no one, and I mean no one, holds a candle to Terrence Malick. This man has rarely been photographed in the 43 years since his career began and, to my knowledge, has … Continue reading
Experimental filmmaking is somewhat of a rabbit hole. You can jump down and go as deep into it as you want. Inside you will find wonderful things and possibly horrifying things. There will be images which astound and some which horrify. Man with a Movie Camera falls a bit on both sides of that line. It … Continue reading
In the halls of cinematic “what-ifs” there is the career of Jean Vigo. Vigo’s career was a short-lived but highly influential one. He only made four films in his time as a director; three short films: A Propos de Nice (1930), Taris (1931), Zero de Conduite (1933), and one feature length film: L’Atalante (1934). Despite having such a small body of … Continue reading
I’ll preface this by saying that I did not grasp everything there is to grasp in this movie, and not being a huge history-buff may have slightly diluted my understanding of the film, but one thing is absolutely certain: Hiroshima Mon Amour is a stunning piece of visual, “filmic” (is this a word?) art. This movie … Continue reading
In an earlier piece published on this blog (which you can read here), I wrote about the connection between filmmaking and dreaming. How the two are so closely related and alike. They are fragments of memory, spliced together to form, not a complete whole of a moment, but a complete perception of a moment. An old … Continue reading
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