The Nation's film critic Stuart Klawans is author of the books Film Follies: The Cinema Out of Order (a finalist for the 1999 National Book Critics Circle Awards) and Left in the Dark: Film Reviews and Essays, 1988-2001. His film criticism and reviews for The Nation won the 2007 National Magazine Award. When not on deadline for The Nation, he contributes articles to the New York Times and other publications.
When you go to the Human Rights Watch International Film Festival, you expect the screen to be a window onto the world.
Most faces can simply be described, but some (like Jean Dominique's)
need explaining. When did the lips shrink away, and the light brown skin
start clinging to the bones?
Antiquarian mishmash lathers the April screen. In Kill Bill Vol.
A rough but accurate gauge of national resilience: When dictators fall, how soon do filmmakers rise again? In the case of Argentina, the recovery was impressively quick.
Not wanting to curse Charlie Kaufman with too much praise, I'm tempted to say that his nonexistent twin Donald is the best American screenwriter since Preston Sturges.
So Mel Gibson has been persecuted all the way to the bank.
From the moment when Mel Gibson began promoting The Passion of the Christ--was it only ten years ago?--he has insisted that his goal was to be true to the Gospel text.
Bernardo Bertolucci has long fed off a cinephilia he appears to despise.
Considered as a subset of the road movie, the post-Holocaust, return-to-Poland documentary has been a dismayingly static genre. Most of these films are journeys in only the physical sense.