Cinémathèque Annotations on Film
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Cinémathèque Annotations on Film
Contents Darragh O’Donoghue on Ballad of Narayama Brian Darr on Carmen Comes Home Gregory Dolgopolov on Khrustalyov, My Car! Tara Judah on Comrades Hamish Ford
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Notre musique: Godard’s Shot/Reverse Shot Ruminations on the Israeli-Palestinian Conflict
An admitted anti-Zionist with a history of ardent support for Palestinian opposition to Israel, Jean-Luc Godard frequently uses his films as a forum in which
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Property is No Longer a Theft
In his later years Elio Petri’s sardonic sense of humour appears to have allowed him to savour the irony of having been perhaps the only
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Carmen Comes Home
Hideko Takamine lined up with her uncle at the Shochiku studio for an audition for the Hotei Nomura film Haha (Mother, 1929). Already adorable at
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Comrades
Bill Douglas was 57 when he died, leaving the world with a handful of student films, three unproduced screenplays, his highly acclaimed Trilogy [My Childhood
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Khrustalyov, My Car!
One of the most disturbing Russian films of all time, Khrustalyov, mashuni (Khrustalyov, My Car!, 1998) provides the audience with a firsthand experience of the
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L’assassino
Among the great wave of film debuts in the late 1950s and early 1960s, that of Rome-born director Elio Petri is often overshadowed by those
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The Man with the Golden Arm
Two years after his censorship battle over The Moon is Blue (1953), Otto Preminger again provoked the censors with his 1955 film The Man with
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La decima vittima
In the early to mid 1960s, the Italian cinema was going through a sort of renaissance, as it not only produced important films by such
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Todo modo
Beginning with the socially-committed films of neo-realism, postwar Italian cinema became, perhaps even more than Italian postwar literature, a form that inherently tended to reflect