The Apartment won three Oscars for Billy Wilder as producer, director, and co-screenwriter. Read more
Jacques Rivette, who recently celebrated his 85th birthday—and is still active—seems to me to be one of the most uneven, and certainly less prolific, of the major figures to come out of the French New Wave. Read more
In the interest of full disclosure, let me make it clear at the outset that of all the directors who came along Read more
Oscar “Budd” Boetticher (1916–2001) is one of those directors who would likely have been all but ignored by film historians—if Andrew Sarris had not succeeded in making auteur theory prominent. Read more
Ingmar Bergman (1918–2007) had turned 40, and had already directed 20 films Read more
When Andrew Sarris published Interviews with Film Directors in 1967, he could already write that Claude Chabrol (1930–2010) had “quickly become one of the forgotten figures of the nouvelle vague.” Read more
Il Grido (The Cry) catches Michelangelo Antonioni (1912–2007) in transition from his Neorealist roots to his more personal, despairing vision. Read more
These notes accompany the Non-California Dreaming: The American Avant-Garde, Program 2 (1948–60) screening program on May 1, 2, and 3.
After Maya Deren (with husband Alexander Hammid) directed Meshes of the Afternoon and moved back east, and Amos Vogel founded Cinema 16, California ceased to be the exclusive center of the independent film movement, and New York became a rival. Read more
These notes accompany the California Dreaming: The American Avant-Garde, 1942–58 screening program on April 24, 25, and 26.
Although nothing quite comparable to the French Surrealist films of the 1920s came out of America, the occasional maverick production had appeared on the periphery of Hollywood over the years. Read more