In Rainer Werner Fassbinder’s Chinese Roulette (1976), a venomous marital melodrama, a character played by Margit Carstensen provocatively inquires, “Who would this person have...
In retrospect, The Immortal Story (1968) is a fitting capstone to Orson Welles’ illustrious yet highly compromised directorial career, a filmography lodged beneath the...
Pray for the Wounded Planet: Wenders’ Belabored Road Trip to the Apocalypse
The troubled production and following critical ambivalence towards Wim Wenders’ 1991 film Until...
Despite it being the directorial debut of five times Oscar nominated cinematographer William A. Fraker, 1970’s revisionist Western Monte Walsh isn’t as well remembered...
Nearly two decades into a career that has since spanned nearly seven, Jeanne Moreau had already worked under the direction of Godard, Malle, Welles,...
The Shadow Knows: Oliveira’s latest a Stringent Meditation on Sacrifice
Inevitably, any discussion pertaining to recent work from Portuguese director Manoel de Oliviera will make...
The thrill of meeting Marjane Satrapi reminded me of being 6 years old at Disney Land when I met the living, breathing Cinderella. Except Cinderella was an actress with a blond wig and Marjane is the real woman behind her autobiographical graphic novel, turned movie, “Persepolis”. The distinctive mole on her nose and her dark sultry eyes rose off the page and appeared in front of me, smoking and speaking with a French accent.