Easily among the slowest of them all. Tarkovsky’s films are few, and it’s fairly easy to mark out their shared formal features and formal progress. As long as Andrei Rublev is, its…
Breakfast at Tiffany’s (dir. Blake Edwards, 1961) – Been way too long since this one. It’s hard to watch it “objectively,” largely on account of its status as the origin…
Gilda (dir. Charles Vidor, 1946): The tagline read, “Was there ever a woman like Gilda?” Indeed. Upon a more recent viewing of this long-been favorite, it appears much less textbook…
Solaris (dir. Andrei Tarkovsky): Another example of non-verbal ponderings and metaphysical explorations transferred to film by the great Andrei. The only level at which the film is even a little transparent…
Stalker pushes the limits of contemporary cinema, certainly of the narrative kind, past the point of normal accessibility. To break down physical spaces, colors, and textures of this film into…
A quick list of the most epic epics would have to include (but of course not be limited to): Ran, Lawrence of Arabia, 1900, 2001: A Space Odyssey, Seven Samurai,…
Have begun reading Sergei Eistenstein’s famous Film Form, and watching Potemkin was like watching theory put into practice in a way rarely done. There are theorists (or philosophers) and then…
