His is an unwieldy and rarely screened oeuvre.

Věra Chytilová

“I have no desire to cuddle my audience.”


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-

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.

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He preferred thieves and roués to bosses, bureaucrats, and burghers.