Katalin Varga (Peter Strickland, Romania/UK, 2009)

By Kierran Horner. Over a black screen, sub-titles translate a raised voice; “Open up. Police”, repeated, cut, and a camera sits on someone’s shoulder as they open a door to reveal the sneering, lupine mug of a man with, what seems to be, cranial-mange, surrounded by other assorted, skin-headed aggressors. […]

I Am Curious: Yellow & Blue

By Anders Åberg. [This review of the Criterion editionof Vilgot Sjöman’s films I Am Curious – Yellow and I Am Curious – Blue was originally published in Film International 5, vol. 1, no. 5, 2003. We now republish it online in memory of actress Lena Nyman, who passed away on […]

The Wicker Man (1973): Collector’s Edition

By Deirdre Devers. ‘You are despicable little liars’, spits Sgt. Howie (Edward Woodward) to a room full of schoolgirls during the first act of Robin Hardy’s cult classic, The Wicker Man. Sgt. Howie wields the full authority of his policeman’s uniform when he arrives on the idyllic and remote island […]

The French Old Wave: Claude Sautet’s Classe tous risques

  By Tim Palmer.  Commemorated widely, the French New Wave is basking in the afterglow of its fiftieth anniversary.  Few today dispute the resonance of this movement—its guerilla modes of production, its intellectual auteurs, its playfully non-traditional aesthetics, its joyous cinephilia.  But despite all the nostalgia, it is worth remembering that […]

Tarkovsky, Nathan Dunne, ed., (2008)

A book review by Tim Palmer. Black Dog’s new compendium of essays on the great Russian filmmaker, Andrei Tarkovsky, belongs in a fairly recent category of film studies titles, intellectual coffee-table books or prestige books, which offer themselves as comprehensive, even definitive works.  These are literally and figuratively weighty tomes, […]

Judex (1963) & Nuits rouges (1974)

By Anton Bitel. At first glance Judex (1963) and Nuits rouges (1974)might seem like chalk and cheese. One is in black and white with a marked interest in orthochromatic effects, the other is in vivid seventies colour. One is a period film whose use of intertitles and irising mimics the […]

Inland Empire (2006)

By Bryan Nixon. David Lynch’s latest dream-like film Inland Empire (2006), a three-hour experimental epic that resembles a house of mirrors, is certainly his most ambitious and abstract. The director of daring masterworks such as Blue Velvet (1986) has pieced together yet another film that cannot be analyzed in terms […]

Silence (Chinmoku, 1971)

By Anton Bitel. In Japan, Christianity is a minority religion of only marginal significance to the nation’s culture, and accordingly Japanese films that focus on Christianity tend to do so as a means to an end. While Norifumi Suzuki’s nunsploitation shocker School of the Holy Beast (Seiju gakuen, 1974), for […]