William Wellman may have directed but it is also a David O. Selznick picture (the reason it is in color) and a Ben Hecht screenplay (wrote Notorious and about 100 other titles either credited or
A fast-paced raucous comedy that would fit well in in any study of screwball comedy (we’re at the very origins of it here in 1933 as this is the year before It Happened One Night
A gigantic achievement, the final chapter of Polanski’s unofficial urban paranoia set of films best known as the apartment trilogy with Repulsion (1965), Rosemary’s Baby (1968)—and I’m not sure all three aren’t masterpieces If Polanski
A superb film from Egyptian director Youssef Chahine—fast-paced, engaging, and turns into a wonderful thriller with an edge in the final act It is edited like a Capra’s It Happened One Night (we have a
Kieslowski’s fourth feature (made after but released third ahead of Blind Chance)- and four for four in the archives. This is an important first collaboration with co-writer Krzysztof Piesiewicz who would go on to work
Not a direct adaptation of Hugo’s novel—a contemporary film that is certainly inspired by it- with the line “There are no bad plants or bad men; there are only bad cultivators” used in the finale The debut of Ladj Ly
The first of three Val Lewton and Boris Karloff collaborations in 1945 and 1946—the other two were directed by Mark Robson – Isle of the Dead and Bedlam.--- part of Lewton’s impressive run as producer
Kieslowski’s third feature, it was actually released in 1987 (which would make it his fourth film) because it was delayed because of political censorship. 99.99% of the time I use the release date, but this
Penelope Spheeris’ first (available) feature film. She made a film with Richard Pryor in the late 1960’s that was destroyed I believe or doesn’t exist anymore, she is best known for making the documentary The
Kieslowski’s second feature- a superior character study- a parable of a simple man’s obsession Kieslowski really had about a 20 year career- his first feature was 1976- and passed away at far too young an
Another in a string of strong atmospheric Val Lewton 1940’s “horror” films that aren’t really horror films Tight 70 minutes, a sequel to 1942’s Cat People. Kent Smith is as stiff as he was on
Kelly Reichardt’s seventh feature moves confidently and quietly—she clearly knows exactly what film she wants to make and it shows—and it is patient, understated The film opens in contemporary times with Alia Shawkat with her
