In 2007 Ingmar Bergman and Michelangelo Antonioni died on the same day, prompting a lot of critics to wonder who would take their place in culture. For a while I wondered this as well; who would make work like Persona or The Passenger for our
Sometimes drastic measures must be taken in order to bring balance to the universe, which is why we’re making the effort to placate the spoiler-wary by moving our Film of the Week to the back of the show. So we start with Off the Shelf
In his book Crackpot, John Waters devotes a chapter to his guilty pleasure movies – the joke being that the trash cinema most people would describe as a guilty pleasure is exactly what you’d expect Waters to unashamedly love. Instead, the chapter is devoted to achingly
No matter how many times actors, writers and directors repeat that old saw about dying being easier than comedy, critics are still more likely to go into raptures about hard-hitting Oscar-season dramas than summer comedies. One rare exception, enshrined as a great living American director
Released just six months before his death from cancer, Andrei Tarkovsky’s The Sacrifice is commonly held to be an uncomfortably elegiac, melancholy note for the great director to bow out on, which considering the rest of his films were hardly Duck Soup is saying something.
We all know how Robert Altman spent the 1970s, right? M*A*S*H, Nashville, The Long Goodbye, McCabe and Mrs Miller. Freewheeling satirical ensemble pieces, playing fast and loose with genre, inventing the adjective Altmanesque for their naturalistic sprawl. Except there’s another face of Altman’s ’70s work.