“I started at the top”, Orson Welles quips in F for Fake, “and have been working my way down ever since”. After the great man’s death in 1985 Welles’s gag became something worryingly close to consensus. Obituary after obituary tutted about what a shame it was that he never lived up […]
Graham Williamson
Senior Contributor
Samuel Fuller at Columbia (1937-61)(Review)
There are two schools of thought on what makes a good box set. The first is what you might call the blockbuster principle: just assemble as impressive a collection of hits as you can. Certainly, that works – there’s a reason there are so many anthologies of Hitchcock and Coen […]
Black Peter (1964) The origins of Czech New Wave’s greatest export (Review)
Visiting the local co-op to see his sixteen-year-old son at work, a father barks angrily “That’s not working! That’s just standing and looking!” But there’s a value to standing and looking when you’re employed – as the boy, Petr, is – as a trainee store detective. Miloš Forman’s Black Peter, […]
Dark River (2017) … And the continued Ascendancy of Clio Barnard (Review)
She’s got armfuls of good reviews and her films have opened at Cannes, but it still feels like people don’t recognise how good Clio Barnard is. Among her peers, Andrea Arnold is the heir apparent of social realist cinema, Ben Wheatley has the genre fans in his corner and Peter […]
Jubilee (1978) Pure Punk and Pure Derek Jarman (Review)
And so time marches on, stopping only to produce ironies. Derek Jarman’s Jubilee, its very title a sarcastic reference to Queen Elizabeth II’s twenty-five years in office, is reissued by the BFI on dual format for its own ruby anniversary. The disc is released a week or so after the […]
Mishima: A Life in Four Chapters (1985) The Antidote to Biopic Fatigue (Review)
An extraordinary film even by the standards of Criterion’s UK catalogue, Paul Schrader’s Mishima: A Life in Four Chapters is your go-to film to counter accusations that biopics are inherently stuffy, stylistically conservative Oscar-bait. And it’s all thanks to Hank Williams. After surviving the excesses of the ’70s New Hollywood, […]
Allure (2017) A modern equivalent to ’90s psychological thrillers like Single White Female (Review)
It’s way, way down the list of the important consequences of #MeToo, but the fact that so many actresses are now also prominent activists is having a subtle effect on the way we interpret film authorship. In the traditional auteurist sense, Allure is un film de Carlos and Jason Sanchez, […]
Metropolitan (1990) Whit Stillman’s Comedy of High Society Manners (Review)
It’s always a risk for a film to give you too many pointers about how to read it; most people like to work that out for themselves. But I was very charmed by a moment about halfway into Whit Stillman’s 1990 debut Metropolitan – reissued on Region 2 Blu-Ray by […]
Early Hou Hsiao-hsien: Three Films 1980-1983 (Review)
“Success is elusive. Something lost is difficult to find. Progress takes time.” That quote comes from the last film on Eureka Masters of Cinema’s new Blu-Ray collection of early Hou Hsaio-Hsien films, 1983’s The Boys From Fengkuei. After watching all three films in the set, it’s hard not to interpret […]
La Chinoise (1967) More fun than the dry, doctrinaire Godard it is accused of being (Review)
There’s no greater feeling of kinship than learning someone shares your hot take, so let’s start this review of Arrow Academy’s Blu-Ray of La Chinoise by praising one of the extras – a great, informative, witty discussion of the film by Denitza Bantcheva. Listening to Bantcheva, I finally felt like […]