‘Everyone just pretend to be normal’. These words, yelled by Richard Hoover as his family veers from one disaster to another, are the essence of this 2006 road movie.
In STALKER Tarkovsky takes the notion of the journey and examines it, stretches it, makes it at once real and ethereal; reduced to its abstract components of space and time.
Released in 1970, Don Shebib’s first feature was the most influential English-Canadian film of its generation, and is still an impressive piece of realist cinema, writes Wyndham Wise.
Where we’re going, we don’t need roads. Do we? Anthony Davis introduces our latest run of themed features.
If BEFORE SUNRISE and BEFORE SUNSET are films about the beginnings of fire, BEFORE MIDNIGHT is about how to stoke a blaze, writes Ann Linden.
This month’s theme is lesbian Belgian directors. Chantal Akerman hates labels but fits the bill. We look back at her drowsy meditation on Proustian obsession, LA CAPTIVE.
Murder, drug binges, espionage, prostitution… the early British film industry revelled in salacious behaviour fit to match any Hollywood gossip column, writes Amanda Randall.
On the 20th April, British Silents and BFI presented an all day programme of London-related film at London’s Cinema Museum. Keith Braithwaite describes the experience.
“They make phone calls without saying hello or goodbye and in-between speak only in imperatives, replying in monosyllables.” Martin McGuigan looks at the wild world of Noir.
There aren’t many cinemas left in this country that are over 100 years old. Happy centenary to the pioneer of the Picturehouse group: the Phoenix in Oxford!