TagJean Epstein

Cœur Fidèle vs. Boy Meets Girl

Jean Epstein’s visual poetic realism meets Leos Carax's abstract elegiac poem

REVIEWS

Interruption – Venice 72 Orizzonti

With his directorial debut, Yorgos Zois breaks the fourth wall as he is experimenting on how myth and art interrupt actual life. Or is it the other way around?

Stachka (Strike, 1925)

The debut feature film by Sergei Eisenstein and the first archetypical example of pure communist propaganda.

Ja Tozhe Hochu (Me Too) – Venice 69 Orizzonti

Alexei Balabanov's last and most personal film. An adaptation on Tarkovsky's Stalker myth set in Balabanov's provocative world.

Tôkyô Sensô Sengo Hiwa (The Man Who Left His Will on Film, 1970)

Nagisha Ôshima is performing a requiem for Japanese New Wave and he is covering everything, from the sociopolitical changes till his own alienation that he feels as an artist.

Skammen (Shame, 1968)

Ingmar Bergman, in one of his lesser known masterpieces, de-dramatizes a war by transferring all its tragedy to Liv Ullmann, Max von Sydow and inevitably to his audience too.

TagJean Epstein

Cœur Fidèle vs. Boy Meets Girl

Interruption – Venice 72 Orizzonti

Stachka (Strike, 1925)

Ja Tozhe Hochu (Me Too) – Venice 69 Orizzonti

Tôkyô Sensô Sengo Hiwa (The Man Who Left His Will on Film, 1970)

Skammen (Shame, 1968)

Antonioni on directing

Soft and Hard (1986)

The ideas of David Lynch

Pier Paolo Pasolini – Sesso, consolazione della miseria!

There has always been violence in art