The Mark of Zorro – 1920 Niblo

Largely in the archives for some nice action sequences involving Douglas Fairbanks’ acrobatics Fairbanks was really trying to break into a new mode- get away from romance films- quite a move here becoming the 20’s

Le Amiche – 1955 Antonioni

4th feature but first in the “Antonioni style”—at least fully- puts lonely, selfish characters (mostly well off and good looking) in alienation amidst gorgeous and vast landscapes and architecture-- the main picture above of a

Identification of a Woman – 1982 Antonioni

Sadly it’s Antonioni’s last film before his stroke—and although it’s not amongst his best works there’s a lot here Apparently Vincent Camby from the Times killed it so much so that it didn’t get a

Children of Men – 2006 Cuarón

the narrative is an outstanding biblical parable, there’s strong social undercurrents on pollution and immigration, but mainly- it’s a masterpiece because of the absolutely stylistic tour-de-force from Cuaron—it has become one of the textbook examples

Y Tu Mamá También – 2001 Cuarón

Cuaron’s greatest film to date in 2001 and a masterpiece It marks a visual departure of sorts for Cuaron- it’s more naturalistic in the set design and lighting (frankly the entire mise-en-scene)—it’s not loaded in

Burning – 2018 Chang-dong Lee

There are three brilliant scenes in the 148 minute film— leaving the theater I thought it was a recommend but those scenes are lingering with me which leads me to believe it could be higher

Great Expectations – 1998 Cuarón

The green saturation in the mise-en-scene is so artistically admirable—but it’s not as strong a marriage as it is in Cuaron’s A Little Princess from 1995- which is more overtly expressionistic and surreal. Nor is

A Little Princess – 1995 Cuarón

It’s the strongest of Cuaron’s three 1990’s films—sort of the “green trilogy” before exceling with Y Tu Mama Tambien in 2001—they’re all worthy- visually sumptuous and ambitious along with heavily being influenced by Antonioni (particularly

Sólo con Tu Pareja – 1991 Cuarón

Cuaron’s debut and a visually accomplished, if not stunning, debut. The reviews seem to be weak because of insensitive nature of the film’s premise (changing someone’s medical chart to make them believe they have HIV

Widows – 2018 McQueen

McQueen continues the streak-- of one of the most promising starts to a career (he’s 11 years in now and 4 films) in cinema history He’s great at capturing places, a great photographer—this captures Chicago

12 Years A Slave – 2013 McQueen

Three for three here-- McQueen has made superb films, punishing films that are equally depressing and beautiful to look at McQueen uses long takes and duration for affect (the scene of Ejiofor getting flogged, the

Shame – 2011 McQueen

A brave unflinching character study directed with such stylistic bravado New York City looks incredibly harsh here—severe- punitive— McQueen shows this with the lighting, the architecture, (that boat shot in isolation) but also in the

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