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Too Early, Too Late: Interview with Huillet and Straubby Hans Hurch. 1981. Translation and Notes by Ben Brewster.Too Early, Too Late by Straub and Huillet consists of two parts -- Part A: Friedrich...
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PHIL KARLSON CONFIDENTIALby Bill Krohn Phil Karlson is known for a handful of crime films he made in the 50s. That is a tribute to the strength of those films and a disservice to the director, who...
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Gold?I hate it as you hate God.LE SPLEEN DE PARIS, BaudelaireROBINSON CRUSOE, Buñuel
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!f Istanbul reports...To the question of how he creates horror elements in his films, Pedro Costa replied: "I no longer use any kind of story. Instead, I use memories, lives, and experiences of Cape...
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Letter from Janeby Tag GallagherIn April of last year (1974), Jane Fonda, Tom Hayden and director Haskell Wexler (Medium Cool) made a trip to North Vietnam (they were refused visas to the South)....
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The Iron Mask (1929) by Allan Dwan The Testament of Doctor Cordelier (1959) by Jean Renoir. These two filmmakers, in these exemplary films, the first following Griffith, the second Chaplin, give us...
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for E.E.
The first frame of the third version of La Madre (J.-M. S.)and the first frame of the second version.
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Philippe Garrel: A week ago in Paris I showed "Actua 1" (1968) before Regular Lovers (2004)-- so I showed the newsreel right before the re-creation-- and the two...
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AMERICA WITHOUT FEAR ORFAVOR (STAR WARS) ('L'Amerique sans peur et sans reproche: Star Wars', Cahiers du Cinéma 283, December 1977) by Serge Le PeronIn pursuing the implications of the exceptional...
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Rivette on Les quatre cents coups (The 400 Blows, 1959)*The effort to publish and re-publish more of Jacques Rivette's writings must intensify. It is not right, a world without Rivette... it need not...
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Rivette on Eisenstein (1956)*An Esoteric OrderEisenstein's writings most often treat questions of montage and time, but his genius is nevertheless essentially plastic. Undoubtedly he devoted himself to...
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Rivette on Judex (1963, Georges Franju)*JUDEX Or the return to sources: it is, more than ever, the shot, the image that is guiding the film; it’s its logic that is in charge of the events. That is, any...
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