1930s Cinema Gets Wild and Funny with ‘French Revelations’
1930s cinema gets wild and funny with French Revelations: Fanfare d’amour and Mauvaise Graine, talkies with impolite elements from Pottier, Wilder, and Esway.
1930s cinema gets wild and funny with French Revelations: Fanfare d’amour and Mauvaise Graine, talkies with impolite elements from Pottier, Wilder, and Esway.
Its lesbian love interest was once modified and a saccharine ending tacked on, but a new controversy arises with G.W. Pabst’s silent film classic Pandora’s Box.
Most of the comedies in Laurel & Hardy: Year One starred others, so this set shows the evolution of the dual film by film, getting better as they go along.
Chameleon Street has a finger on the throbbing pulse of shifting cultures that see youth through punk, new wave, and hip-hop.
These 18 short films in Early Shorts of the French New Wave showcase a consistency of personal expression, handheld style, and filming in the street.
Films like The First Year play a crucial role in how nations negotiate and re-negotiate their self-image, and its reemergence is yet another step forward for post-Pinochet Chile.
Robot Monster‘s reputation as a best/worst movie might be challenged in this 3-D format showcasing a boy’s libidinous dreams.
Film: The Living Record of Our Memory provides an awe-inspiring, expedited survey of film preservation and the urgency of capturing humankind’s visual memories lest we let these precious histories disintegrate.
Frank Borzage, king of silent film melodrama, shows how it’s done with Back Pay‘s tale of redemption and the James Oliver Curwood-inspired The Valley of Silent Men.
Juleen Compton’s little-known ’60s films, Truffaut-effected Stranded and Mekas’-affirming The Plastic Dome of Norma Jean, have been lovingly restored thanks to her work ethic in a completely different field.
Three Films by Mai Zetterling reveal the themes in the controversial director’s work: women’s lives, their fraught and ambiguous relationships with sex and motherhood, and how women interact with each other.
The 1951 film-noir Peking Express (not to be confused with Shanghai Express) should be seen as Hollywood’s first attempt to deal with Communist China in the context of the Red Scare.