By Jonathan Rozenkrantz. As I watch Fanny and Alexander (1982) for the first time since childhood, I am caught not so much in the grip of Ingmar Bergman’s “cinemagic” filmmaking (which, in my opinion, is at its weakest in this particular film). Rather, I find myself in an uneasy clinch […]
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Ali Moosavi
A Producer’s Journey, from Tehran to Hollywood – Barry Navidi on Modi: Three Days on the Wing of Madness
Andrew Montiveo