Towards the end of her life, Anna Maria Dalí ruminates on her relationship with her brother, the painter Salvador, from their beginnings in the northern Catalan city of Figueres, through his often scandalous career, to his sad decline and death in 1989. This is a curious enterprise, which retains most of the faults of a … Continue reading Miss Dalí
The main event at this performance, part of the Festival’s ‘Restorations and Rediscoveries’ strand, was Jean Epstein’s hour-long silent LA CHUTE DE LA MAISON USHER (THE FALL OF THE HOUSE OF USHER) from 1928. It was preceded by Jan Svankmajer’s THE PENDULUM, THE PIT AND HOPE (KYVADLO, JÁMA A NADEJE), a live action short with … Continue reading The Fall of the House of Usher; The Pendulum, the Pit and Hope
At this year’s Cambridge Film Festival, the first session of a brief season of films by the pioneering American film-maker Lois Weber (1879–1939) comprised a ten-minute short, SUSPENSE, from 1913, and the 1916 ‘five-reeler’ SHOES (about an hour long). SUSPENSE adheres closely to a very well-known genre of the time: a wife (with baby, of … Continue reading Shoes
Francesc, an unhappy 13 year-old boy living in Barcelona, is inadvertently introduced to the works of Albert Camus, whose existentialist ideas he finds unconvincing but intriguing. Arming himself with a new French name, Jean-François, the boy sets out for Paris to give the writer a piece of his mind — unaware that Camus has been … Continue reading Jean-François i el sentit de la vida
Fourteen year-old Fortuna has been separated from her parents during the perilous journey from Africa to Europe and now waits In a refugee centre, which has been set up within a monastery in the Swiss mountains. The handful of monks who live, work and worship there try to come to terms with the intrusion of … Continue reading Fortuna
A selection of shorts from 1907-1914, most newly restored, showcasing the innovative, two-colour ‘Kinemacolor’ process.
UNCERTAIN GLORY boasts a wonderfully realised setting, gorgeous photography and well-drawn, well-played characters.
In one of Joan Crawford’s most celebrated films, a successful restaurateur endures an ungrateful daughter and feckless husband.
There’s plenty of set-up in this famous thriller, but once the nitroglycerine gets moving, the tension never lets up.
Michael Glawogger’s unwavering eye for often uncomfortable images comes into its own in his documentary UNTITLED, writes Stephen Watson.