Viewing several films by Walerian Borowczyk allows certain traits and patterns to form in regard to his filmmaking. From the extreme polar ends of Blanche (1971) to The Beast (1975), he’s a difficult to pin-down creator, though the man’s style has several factors that appear to gradually come into play. Goto, Isle of Love (1969) already conjures images simply from its title though it’s doubtful … Continue reading Goto, Isle of Love (1969) – Walerian Borowczyk (Arrow Video).
Despite living in an age of increased documentation, archive and detail, history can still be a tricky picture to paint. For so long, the old adage of it being written by “the winning side” has been a tried and tested bias exposed in whole chapters of recounted history. This has been a development based around prejudice whether through class, racism, sexism or other forms of … Continue reading The Missing Picture (2013) – Rithy Panh.
The latest release in the BFI Flipside series revels in the social satire of its era with glee. Though of course the main draw of the release will be Saxon Logan’s main feature, Sleepwalker (1984), the release itself is built up to make a whole package of potential double and even triple bills of viewing; some Logan themed, some nocturnal themed. The main feature simply … Continue reading Sleepwalker (1984) – Saxon Logan, BFI Flipside.
Classical traditions and feminist ideologies collide and intertwine in Laura Mulvey and Peter Wollen’s Riddles of the Sphinx (1977). It’s instantly clear from its opening “contents” page that the film isn’t simply going to be a piece of narrative cinema, nor is it going to be purely avant-garde. With the increasing use of the term Essay Film within the analysis of cinema, Mulvey’s film is … Continue reading Riddles of the Sphinx (1977) – Laura Mulvey and Peter Wollen (BFI).
Displaying a filmmaking ethic and system that would make even someone as fast-working as prodigious as Rainer Werner Fassbinder seem cautious and slow, Sadao Yamanaka should perhaps be far better known that he currently is in the West. Making twenty two films over his short but highly productive cinema career, Yamanaka can be seen as one of the missing links in great Japanese cinema. His … Continue reading The Complete (Existing) Films of Sadao Yamanaka – Masters of Cinema.
Roman Polanski’s period films don’t garner the same sort of critical attention that his genre films attain. The likes of Rosemary’s Baby (1968) and Chinatown (1974) no doubt feature more highly in film discussions than the likes of Oliver Twist (2005) or Tess (1979) yet the latter of these films presents an epic expanse that manages to still capture detail and beauty; a rare feat … Continue reading Tess (1979) – Roman Polanski (BFI Release)
This review contains spoilers. For a filmmaker who was supposedly uninterested in visual allegory, Josef Von Sternberg’s The Blue Angel (1930) is full of potential for visuals readings if wanted. One of the first sound films to come out of Germany, it is astonishing how the medium’s relative newness seems to have had little negative effect on the visuals of this pioneering film. However it … Continue reading The Blue Angel – Josef Von Sternberg (1930, Masters of Cinema)
There’s something startling about just how inventive cinema was in the early days of its creation. Whereas other artistic mediums have taken hundreds of years to bear fruit, film seemed to have caught on to what it was about mere years after its very conception. Ranging from 1901 to 1908, the films in the BFI Fairy Tales release show a frank endorsement of both storytelling … Continue reading BFI Fairy Tales – Early Colour Stencil Films From Pathé (1901 – 1908)
This review contains spoilers. Barbet Schroeder’s Maîtresse (1976) is a film that is extremely hard to classify. Even with the hindsight of almost forty years, its apparent bed fellows all share a stubborn resistance to classification. The collection of films with vaguely similar themes and tendencies to push boundaries of explicitness that came out in the 1970s such as Salò Or 120 Days Of Sodom … Continue reading Maîtresse – Barbet Schroeder (1976), BFI.
The films of Jacques Tati so often place their main protagonist out of time and out of step with his various scenarios that it was to be expected that Tati’s debut feature film Jour de Fête (1949) was to bask in a similar situation. However there’s a sense of naivety due to various factors within the film that makes Tati’s debut seem not quite up … Continue reading Jour de Fête – Jacques Tati (1949), BFI.