Jack Nicholson and Michelangelo Antonioni.
Agnes Varda at home on Daguerre Street
© Martine Franck
Close-up (Abbas Kiarostami, 1990)
Ozu and Mizoguchi in 1948
Porcelain dolls of various characters in Yasujirō Ozu’s films including Noriko Somiya (Setsuko Hara) in the first photo and the director himself in the last photo.
Jacques Tati Trafic 1971 Movie Posters.
“The first section of “Trafic” reflects the big-canvas style of “Playtime,” with gags steadily accruing in a frame that meshes foreground and background and favors visual pleasures over jokes, as in the stunning montage of Altra’s assembly lines — a passage involving overhead shots, close-ups, and a symphony of industrial noises that recalls Joris Ivens’s 1931 documentary “Philips Radio.” There is little dialogue in “Trafic,” and most of it is inconsequential, but every shot and sound effect has its reason. A casual remark about stringing measurement wires across the floor leads to a pullback in which workers high-step over them like the ponies Tati mimed in his music hall years.”
‘Trafic’: When Tati Drove Himself to the Edge
By GARY GIDDINS | July 8, 2008
The Films of Andrei Tarkovsky
Ivan’s Childhood | Andrei Rublev | Solaris | The Mirror | Stalker | Nostalghia | The Sacrifice
Nine films by Peter Greenaway
The Falls | The Draughtsman’s Contract | A Zed & Two Noughts | The Belly of an Architect | Drowning by Numbers | The Cook, the Thief, His Wife & Her Lover | Prospero’s Book | The Baby of Mâcon | The Pillow Book
Kwaidan, by Masaki Kobayashi (1964).
This was one of the most beautiful horror films I’ve ever seen.
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