frampton

His films are pentagrams for the conjuration of narrative.

rivettejacques1

His is an unwieldy and rarely screened oeuvre.

Věra Chytilová

“I have no desire to cuddle my audience.”

jarman

He was part of the bad old post­modernism, in a good way.

He was dis­illusioned by the materialism of modern Japan.

“Too much at stake: art, integrity, black power.”

Wondrous things pressing against the seams of the everyday…

Separation, and then the language of separation, were his subjects.

His cartoons ring a very specific important curdled cultural alarm bell.

Brilliance can be mistaken for mere profession-
alism.

He unsettled movie genres even as he helped define them.

Visionary, Bolshevist, Paramount Pictures’ newest star.

Nocenti’s work stands out like Longshot’s weirdly glowing eye.

A repeating slideshow from a series of knee-high cameras.

Hurt Locker was very good — not always a pre­requisite for Oscar-winners

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Jules Verne on laudanum, and four other writers rolled into one.

When trash meets art.

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He insisted that he was a poet, no matter what the medium.

German history, anti-norm­ativity, and structur­alism.

Andre Bazin wrote “he directs facts” — but did he?

High Corman: pell-mell, hep, bizarrely hybridized.

“All Lean’s movies are Life Epics, about individuals… and their dawning conscience.”

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A brutality so extreme as to border on black comedy.

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Beauty — rapturous sexy sexy, glorious abandon at war with ethics.