TagHistoire(s) du Cinéma

Godard on Italian Cinema

How did Italian cinema become so great if no one - Rossellini, Visconti, Antonioni, Fellini - recorded sound with image?

REVIEWS

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.

Force of Evil (1948)

Abrahams Polonsky suggests that entrepreneurship is not so far away from criminality and that something is corrupted in the immaculate postwar American society.

Žert (The Joke, 1968)

Possibly the most shattering indictment of totalitarianism to come out of a Communist country - Amos Vogel

Pisma Myortvogo Cheloveka (Letters from a Dead Man, 1986)

Konstantin Lopushansky re-creates the post-apocalyptic terror of a nuclear disaster on Chernobyl's aftermath as a Stalker's flip-side.

Eastern Boys – Venice 70 Orizzonti

A highly narrative dramatic - romantic film by by Robin Campillo dealing with male prostitution and the trafficking of boys from the Eastern Europe in France. Winner of 70th Venice Orizzonti section.

TagHistoire(s) du Cinéma

Godard on Italian Cinema

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

Force of Evil (1948)

Žert (The Joke, 1968)

Pisma Myortvogo Cheloveka (Letters from a Dead Man, 1986)

Eastern Boys – Venice 70 Orizzonti

Truffaut: Films are like trains

Leos Carax and his island

Ingmar Bergman’s Dreams

Satyajit Ray on Cinema

Biće Skoro Propast Sveta (It Rains in My Village, 1968)