A woman, a man, a car and the desert. Widescreen. That’s the gist of this clip for Celia Rowlson-Hall’s highly-recommended MA, which opens tomorrow at the IFC Center via Factory 25. Check out the clip, read the synopsis below and… Read more
This graphics-heavy analysis of a key scene from The Godfather juxtaposes images with the script directions, along with on-screen annotations and an audio assist from a Francis Ford Coppola interview.
This 2016 supercut by Nikita Malko is notable for its intricate intercutting between a variety of pop-ish songs with lyrics and dialogue from the films chosen.
Alexandre Gasulla pays tribute to the Coen brothers with this supercut connecting motifs and visuals from across their body of work.
Another day, another 2016-in-cinema supercut, this time credited to YouTube user Beeblebrox.
The supercut of 2016’s best cinematography edited by Scout Tafoya gets points for originality in including FX’s Atlanta.
Martin Kessler’s supercut connects the visual dots across Andrei Tarkovsky’s filmography for eight minutes.
The latest trailer-but-not-really for the much-anticipated return of Twin Peaks has David Lynch “in character” as FBI agent Gordon Cole eating a donut.
“Do we understand…” How many times have the filmmakers in our audience read those words within the body of studio notes? Do we understand his or her motivation? Do we understand the stakes? Do we understand the backstory? Because moments of information-dispensing rarely provide cinema’s most thrilling, mysterious, poetic moments, they are often realized by filmmakers in the most prosaic of ways. Dialogue in a scene covered with a pretty basic sequence of shots. Let’s just get through this, you can feel the directors — and screenwriters — saying. But, as this video essay by Writing with the Camera shows, […]
With Silence out soon, it’s Martin Scorsese season. This video essay by Cole Smith looks at Elia Kazan’s approach to staging interior and urban spaces in films such as A Streetcar Named Desire and On the Waterfront, then moves on to consider his influence on Scorsese’s The Departed. New Yorkers: the film shows on 35mm this Saturday at the Museum of the Moving Image.