Perhaps that’s part of the reason why Guillermo del Toro likes making movies – he’s making ghosts, capturing the past, and preserving it so it can continue to effect people long after he’s moved on to another project or another life.
Feel free to imagine whatever you like about what happened that night we got together to watch Persona. Bergman would like it that way, we/I think
“Things like this” do happen. The nightmare is all too real. And yet, there is also joy. How is this possible?
On this second episode, they compare Orson Wells’ playful and confounding F for Fake with Errol Morris’ equally confounding though sentimental Gates of Heaven.
Avril Speaks and Elijah Davidson search for the truest truth by comparing documentary styles.
Avril Speaks and Elijah Davidson search for the truest truth by comparing documentary styles.
Taken as a whole Over The Garden Wall is a kind of modern day fairy tale, and understanding its deeper meaning starts with an essential interpretive lens: the setting of the Unknown. Both capitalized and set apart with an article, these woods are an manifestation of a timeless and liminal place.
We’re discussing love, art, and obsession in The Red Shoes.
Nuns go mad in the third film in our Powell and Pressburger podcast series.
Our exploration of The Archers’ films continues with A Matter of Life and Death.
The beginning of our four-part series on the films of The Archers, Michael Powell and Emeric Pressburger.
The Fiske Fulldome Film Festival was the most theologically-rich film festival I’ve ever attended.
Before he was racking up Oscars with Birman, Alejandro González Iñárritu made Amores Perros. Is his well-known style evident in this early film?
She’s been called one of the finest action filmmakers of all time. Is Kathryn Bigelow’s trademark style evident in her earliest film, The Loveless?
Does Steven Spielberg’s debut feature Duel show off his now trademark style?
Is Martin Scorsese’s well-known style anywhere to be seen in his first film, Who’s That Knocking At My Door?
A discussion about faith, science, and art from the 2015 Sundance Film Festival.
If I sit and listen to someone else for two hours, and if I really listen, then I cannot help but be humbled. My sense of self is smashed. I am not the subject here, anymore; I am the receiver.
The wrap-up of our “cinema of the saints” series.
Part three of our exploration of what a “cinema of the saints” might look like.
With Bridesmaids, Feig and McCarthy made a tremendously entertaining, humane, and honest film about relationships. I’m sure it was a difficult film to create. Making a good comedy isn’t simple. But saying “no” to the opportunity to make a bad one is.