It may be the least (or close) of the 11 archiveable Keaton films made from 1923 to 1929 but they all should be studied and appreciatedYou’ll notice frequently in the titles Keaton puts himself way

It has some of Schrader’s trademark erotica fetishism, visually he deftly channels Visconti, Ozu, and Antonioni to deliver exhilarating cinematic style If anyone thinks Schrader is merely a screenwriter this is as good a place

The talent and star power of Carole Lombard (first billing over Stewart) and Jimmy Stewart carry a sometimes uneven tone in the film into the archivesA nice playful wipe edit up as Stewart goes into

There’s really two movies here in Keaton’s 69 minute Go West. The first 45 minutes or so it’s a very funny fish out of water comedy with Keaton, at his finest, struggling to make it

J.A. Bayona (The Orphanage) crafts a solid drama led by the ever reliable Naomi Watts and Ewan McGregor. You absolutely forget McGregor and Watts (Watts especially in a very good physical performance—she is bruised and

Visconti’s last film—release just after his death in 1976The little details in the opening credits are all Visconti—apparently that’s his hand flipping through the actual source material book (not an uncommon or overly inventive credit

Late-period (he’d love that description) Visconti – his second to last feature film. He was severely affected by a recent stroke when filming and needed a single setting or set piece to work in and

Praise-worthy performances and a affectionately written script by Jim Sheridan (with real-life daughters Naomi and Kirsten Sheridan) carry this film into the archives for 2002 The voice-over by older sister (actor Sarah Bolger) is our

A chillingly authentic drama (almost a detective film or neo-noir) set in the Ozark Mountains of Missouri with the Missouri Waltz sung in the openingThe beginning of Jennifer Lawrence’s film career- not her debut but

a brilliant realization of Buster Keaton’s set-piece (the boat), long shot auteur-driven genius takes aim at the rich—starts with the “every family tree must have its sap” with a deadpan and affluent heir (Keaton) walking

A masterpiece of staggering beauty and cinematic aweOpens with a dream montage – incredible imagery, and then we’re off and running with the hunting scene starting with the camera aimed down at the stream and

A stylistic break for Visconti for the most part— there is some nice blocking and framing in the dining sequences (flowers galore), beach sequences (see below) but here- Visconti mostly uses the slow zoom as