1970s
In our latest entry of Anarchic Cinema, we discuss Nick Zedd’s 1979 undiluted cinematic punk rock film They Eat Scum.
Matthew Roe introduces Anarchic Cinema, the beginning of a new series focusing on the evolution of art from the obvious to the complex.
Every year, between five to ten movies are bestowed the honor of being nominated by…
In Suspiria, Argento’s use of space, lighting, vivid colors, grandiose set pieces, and Goblin’s score create a masterclass in suspense and subliminal terror.
John Waters’ 1974 camp comedy pushed audiences out of their comfort zones, via a raucous celebration of queerness at its most unconventional.
Our next installment of Take Two sees us examine David Lynch’s divisive debut feature about strange dreams and deformed children: Eraserhead.
Michelle Sabato, an Italian American herself, takes a closer look at The Godfather, and what “family” means to Italian Americans.
We take a look at Chantal Akerman’s Jeanne Dielman, 23 Quai Du Commerce, 1080 Bruxelles, which deals with the mundane in a truly unique way.
The next in our Sculptures in Time series about Andrei Tarkovsky’s films is The Mirror, a film very autobiographical and surreal in nature.
Star Trek: The Motion Picture is a flawed yet misunderstood film, imbuing some of the best that the franchise has ever had to offer.
Holiday Horrors provide a comforting alternative to the forced gaiety of the season – and Black Christmas is one of the best to watch.
In July of 1974, television reporter Christine Chubbuck committed suicide on a live news broadcast. This is not a spoiler for Christine, as the film concentrates on the tragic events that led to its title character’s fall.
In Tarkovsky’s 1972 film Solaris, Kris Kelvin (played by Donatas Banionis) journeys to a space station on the sentient planet Solaris in order to investigate whether the planet is still useful for scientific inquiry. Critics at the time considered Andrei Tarkovsky’s 1972 film as the Soviet answer to Stanley Kubrick’s famed 1968 film, 2001: A Space Odyssey.
‘So Bad They’re Good’ movies are a thing now. Movie list websites are awash with them. Troll 2 is often the high-watermark, and it appears that most of these no-budget horrors tend to be of American origin.
The new Criterion Collection release of A Touch of Zen includes director King Hu’s own notes on the film. In these notes, Hu discusses a conversation he had with a Zen Buddhist who told him that Zen must be understood not through verbal explanation, but through an enlightening experience. Despite his renown as a director of wuxia films, Hu was neither a Buddhist nor a martial artist; but, he believed that capturing an experience of Zen would make for a strong film.