#auteur-filmmaking

#auteur-filmmaking

François Ozon's adaptation of The Stranger, while visually stunning, reveals the limitations of cinema in depicting the complex inner states of consciousness that Camus masterfully crafted in his text.

Camus famously summed up the story like this: A man who does not cry at his mother's funeral will be condemned. Thus, the novel begins: 'Mother died today. Or maybe yesterday, I don't know,' introducing Meursault's flat, noncommittal tone.

Soderbergh has become such a prolific, tirelessly resourceful, and altogether uncategorizable filmmaker that you have to wonder why the mechanics of the break-in still inspire him.

In a bustling Boston café, Charlie is instantly smitten with Emma, who is quietly reading a novel. He approaches her, gushing about the book, only to realize she hasn't heard him.

Kluge was an accomplished director of intellectually rewarding, if at times oblique filmic essays, and an ever-productive writer of short fiction. He played a key role in organising the rule-breaking New German Cinema movement that brought forth better-known auteurs such as Rainer Werner Fassbinder and Werner Herzog.

'Forbidden Fruits' has been widely hailed as a 'cult classic' by critics and fans, but labeling it as such too soon risks undermining the process that establishes a film's cultural significance over time.

Emma drops an absolute bombshell in the midst of a game where they're asked to reveal the worst thing they've ever done. Soon everyone around her starts to question how well they really know her.

When I was about 13 or 14, I knew I was a poet. And then, of course, I knew I had to make films. Although I had hardly ever seen any films. The very first time I had noticed that there was such a thing like movies was when I was 11.

Anticolonialism, Ontology, and Semiotics draws upon Africana anticolonial philosophy-especially the work of Frantz Fanon and two of his most influential interpreters, Eldridge Cleaver and Sylvia Wynter-to develop a basic analytical model for doing anticolonial political theory. I wanted to show that there is something distinctive, something special, to be found in this tradition of thought that has not been fully appreciated by philosophers and theorists in other fields.

Set on the blossom tree-lined fringes of Hyde Park in London, Herbert Wilcox's black-and-white rom-com blows in like a fresh spring breeze. The film charts the will-they-won't-they romance between Richard (Michael Wilding), a wealthy lord masquerading as a butler, and Judy (Anna Neagle), the niece of the family who employs him.

The invention of the Cinématographe was ready right away. The process of the invention was longer, and there were a lot of inventors before Lumière.

Cinematography isn't about beautiful images. It's about producing a whole series of images that serve a story. If I come out of a premiere and somebody says, 'Oh, I love the shot when such and such ...' I know I've made a mistake.

Rosanna Arquette spoke about her time on the film in an interview with the Sunday Times in which she said she's "over" the "use of the N-word," adding that she cannot stand that Tarantino "has been given a hall pass. It's not art, it's just racist and creepy."

What begins as a fairy-tale romance set in the beautiful Mediterranean town of Agde gets more complicated when Stann's family ties prove more durable, and dangerous, than he expects. Stann, the hub of a sprawling, criminally inclined clan, finds himself torn between Gloria, a vibrant Black American woman who offers him a glimpse at a life beyond the one he knows, and his inescapable family obligations.

10 Cloverfield Lane Mary Elizabeth Winstead, John Goodman and John Gallagher Jr are locked in an underground bunker for the majority of this left-field sequel to Cloverfield, with thrilling results. In the film's final throes, Winstead's character exits the bunker, and finds that her captor was telling the truth about an alien invasion above - a twist that completely and ruinously dissipates the hard-earned tension that came before.

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

Films seen long ago but unavailable for rewatching often loom large, like myths shadowed by fear: Will a second viewing confirm or dispel the initial impression? I first saw "Caught in the Acts" ("Délits flagrants"), a documentary by the French director Raymond Depardon, in Paris, a few months after it opened there, in 1994, and it struck me as one of the greatest documentaries I'd ever seen.

A quarter-century later, it's safe to say that those days have come to an end. Not only does the streaming-only Netflix of the twenty-twenties no longer transmit movies on DVD through the mail (a service its younger users have trouble even imagining), it ranks approximately nowhere as a preferred cinephile destination. That has to do with a selection much diminished since the DVD days

It's been 40 years since Richard Linklater founded the Austin Film Society, beginning his crusade to make scrappy, personal, romantic and boisterous cinema. It's fitting for a director who first broke out in the 1990s "Indiewood" boom that his latest film, Nouvelle Vague, is an origin story of cinema's enfant terrible par excellence, Jean-Luc Godard, mounting his iconic debut film Breathless. As Linklater's first non-English film, Nouvelle Vague feels like a film fanatic has staged and animated decades' worth of behind-the-scenes anecdotes - genuine and apocryphal alike - to show a turning point for cinema as the Texan director imagines it: lively and collaborative, tetchy and confounding, an amusing slew of rules broken and manifesto points declared.