This marks Pedro Almodovar’s eighth film (six in the archives)- a very busy decade (debut in 1980). Tie Me Up! Tie Me Down! Also makes for five archiveable films with actor and collaborator Antonio Banderas
John Huston’s bleak Fat City opens with longer take observing Stacy Keach (as Tully) in his depressing, tiny jail cell of an apartment. This is Hitchcock’s Shadow of a Doubt and in that Huston is
Heck Harvey directs Carnival of Souls- an early 1960s low budget horror film starring Candace Hilligoss as Mary Henry. It is part Lynne Ramsay (a past trauma—a drag racing accident- leaves the protagonist an empty
Freud is a substantial biopic (running 140 minutes) and a solid addition to the resumes of both John Huston and star Montgomery Clift. The first of eighteen Academy Award nominations for Jerry Goldsmith (score for
Steven Soderbergh’s The Good German is steeped in pastiche. Even the marvelous poster apes Casablanca. However, the sort of real life documentary footage used to open the film is just not how these studio films
With 2019’s About Endlessness, Roy Andersson, further bolsters his legacy as one of the 21st century’s greatest voices in cinema. Andersson is an absolute master of composition. About Endlessness clocks in just under 80 minutes.
Tony Scott infuses enough energy into Crimson Tide to make the achievement of the film more than just the colossal performances of Gene Hackman and Denzel Washington. To be clear, these two great actors and
Johnnie To’s Breaking News is justifiably well known its opening shot. The shot lasts nearly seven minutes in total and has been compared some of the great opening shots in cinema history. To’s camera starts
This was the fourth archiveable film collaboration for Carmen Maura and Almodovar- though they had a falling out during the making of the film and Maura would not appear in another Almodovar film until 2006’s
Denis Villeneuve’s Dune is yet another feather in the cap for the director who amassed one of the strongest resumes of the 2010s (works include Enemy, Sicario, Arrival and Blade Runner 2049). The sheer
It is hard to separate the 1984 film Dune from the story of its failed adaptation (even the most adamant defenders often admit it does not do Frank Herbert’s novel justice) and the story around
Pedro Almodóvar’s most frequent collaborators in the 1980s- the great Carmen Maura and Antonio Banderas- are back for Law of Desire. This is Almodovar leaning into Hitchcock again with the heavy Bernard Herrmann- like strings
