director
In this film theory piece, we discuss auteur theory, the film theory that states the director is the supreme reigning artist of their work.
Alfred Hitchc*ck is famous not only for his masterful films, but for the sometimes harmful ways that he would treat his leading ladies.
Abbas Kiarostami was an Iranian filmmaker that was part of the Iranian New Wave, a movement concerning self-reflexive and humanistic films.
Beginning as an actor, John Cassavetes progressed to directing, and in the process became one of the landmark directors of indie filmmaking.
Elaine May had a run of successful films in the ’70s and ’80s, yet she remains an underappreciated director and writer in the industry.
In an industry famously inhospitable to women, Agnès Varda has been quietly and consistently surpassing expectations, for more than five decades. This is our guide to the legendary Godmother of French New Wave cinema.
Mention the name Dorothy Arzner and even the biggest movie buffs can often respond with blank looks; this guide is an intro into her legacy.
We talked with Katrina Parks about her documentaries about the history of women of the west, and her upcoming film, The Women On The Mother Road.
We caught up with successful British horror director Prano Bailey-Bond, chatted about her sort film NASTY and her upcoming projects!
Over at our official Facebook page, we are currently posting daily film recommendations with each week being a different theme. This is a collection of those recommendations! This week’s theme is action films directed by women.
It’s 1993. Ethan Hawke is in a theatrical production of Jonathan Marc Sherman’s “Sophistry”, co-starring with Anthony Rapp, who has just finished filming Dazed and Confused. Rapp has invited Hawke to an early preview screening of Dazed, which Hawke has claimed to have ‘flipped out’ over.
Director Lee Kirk is just about to release his sophomore effort, Ordinary World. The film is about an former rockstar, played by Green Day’s Billie Joe Armstrong, reflecting on the “path not taken”- of committing to his rock-god dreams, instead of settling down in the suburbs and raising a family. Alistair Ryder spoke to the filmmaker about the autobiographical nature of the film and how his love of music helped bring the screenplay to life.
When I was younger and just starting to get into classic film, I found a copy of The General at a local DVD store. Watching it later, I still remember the exact moment when I was captivated by Buster Keaton’s unique charm and screen presence. In the film’s first extended action sequence, Keaton is chasing after a troupe of Union soldiers who had infiltrated and stolen his train, and in a series of fast-paced, whirring motions, he narrowly escapes one mishap after another.
It seems strange that a body of work which has largely focused on the female experience without pontificating, should prove to be so contentious. And yet, Sofia Coppola’s viewers seem to fall largely within two extremes: the devoted and the apathetic.
Though film is an inherently collaborative medium, requiring careful cooperation of dozens of individuals, there are two roles that get singled out as being most responsible for the final product. Representing the technical marvels behind the camera and the beauty in front of it, directors and actors are Hollywood’s lifeblood, providing a face for the art that took the efforts of countless unseen. Sometimes, a director/actor tandem proves so gripping or successful, that a personal and professional bond is forged, and the two continue to work together; sometimes it’s a brief burst, while other times it’s a career-long relationship, but often the familiarity working teams have with one another results in a film of elevated artistic achievement.