In Shinji Sômai’s films, characters interact and engage with the natural world.
Last week George A. Romero, the godfather of the zombie genre, passed away at age 77. Bram dives deep into the rise of the zombie film since 2002, and what true impact Romero left on cinema.
As Christopher Nolan’s war film Dunkirk is released worldwide, Frameland recommends watching one or up to all seven of Sam Fuller’s war films.
A documentary on a strange pulp genre reveals the strong lure of the dark aesthetics of fascism, and the complexity of dealing with the holocaust in fiction and popular culture.
The Dutch composers duo Seven League Beats (Rob Peters and Dries Bijlsma) composed the soundtrack for The Netherlands’ first science fiction epic. Bram Ruiter sat down with Peters to talk about the process of scoring a feature-length film on a very tight deadline.
How does this allegory of the Bush-era hold up in the times of Trump?
Sapir’s black-and-white film is full of references to both early cinema and Nazi propaganda.
Every image of Dawson City is so full and rich you could see whole movies springing up around them.
Soviet propaganda turns into philosophical meditations by Dovzhenko, thereby planting the seed for the wave of poetic films decades later.
On the representation of White Western Women in India’s New Independent Cinema.
Bollywood of the 21st century recognised that Western women are not only suitable for the role of prostitute or vamp. It showed that Western women are not necessarily the opposite of moral Indian women.
Florence Welch and Vincent Haycock, however, have succeeded to combine all these elements together so seamlessly to create a new modern myth. One that deserves to be recognized and studied for its own merit.
How were western women portrayed in Bollywood cinema of half a century ago? Not great, Bob.
Knowing that McQueen places a strong emphasis on visual story telling in his films, it can be no accident that he places a heavy emphasis on stills shot from nature.
Five Frameland authors share their favorite memories of Twin Peaks, just before the new season starts.
Twin Peaks has influenced many movies and TV shows, but Twin Peaks in turn has been influenced by many films and TV shows that came before it.
The characters and their views seem like small islands in a sea, hard to be abridged. It is therefore appropriate that the members seldom connect. Dreyer uses several methods to visualize this isolation.
Vanishing Waves is a film that sucks you under its spell, pinions you to your seat, rewires your senses and then spits you out. Watching it is like being dragged through someone else’s dreams.
How the state sacrifices the lives of its people for political gain, in 21st century French thrillers.
Un Homme Qui Dort is grounded in a lethargic state realizing that the world can not be changed. But his stagnation and wish to dissolve feels all the more contemporary in a time where reality seems to have tightened its grip.
Kubrick adds with his visual clues to the feeling of claustrophobia and disorientation to the descent of madness that Jack Torrance undergoes.
Jim Jarmusch somehow captured our collective crisis of what it is to be human in the modern day and how to go about with our planet and with others, by portraying superhuman creatures.
Crowds of people have already gathered. A lot of grey hair, worn out jeans, and stubbly beards: the typical crowd for a rock concert by an established musician. But this is a movie theatre. The ‘concert’ is a screening of One More Time With Feeling, a documentary about the making of Nick Cave’s last album.
Kara Hui is an action hero once again in Mrs. K, subverting gender conventions of action cinema by having her as star and be the protector of a happy family and a husband whom she taught how to handle himself.
“Don’t worry: the poster may make it look like a girl movie, but it’s really quite good!”
On time travel films and their meanings.
Bertolucci’s underrated Besieged is all about appearances, spaces and surfaces: that what is shown. The true meaning lies in that was is not said, omitted and hidden from view.
From Adorno to Zola, Mia Hansen-Løve’s Things To Come is filled with names and quotes, a frequent trope of French cinema. But what do they really add to the film, and French cinema in general?
In a time when so many seem to retreat in their bastions of identity Monsieur Klein shows the power of empathy in placing the viewer in a position of shifting identities.
The much maligned A View to Kill gains energy from exploring new ways to develop the James Bond formula.
The entire style of The Apprentice, from framing to camera movement to staging to editing, serves to convey the inner workings of the eponymous apprentice’s mind, who neurotically tries to navigate a modern world of conflicting information and impulses.
There is power in hair, as 2007 Britney Spears can readily attest to.
Arrival is not the first film by Denis Villeneuve in which characters and viewers learn to perceive each other’s differing point of view by their relation to tactile objects. Theodoor explains.
Verhoeven may have more to offer than meets the eye. Are some of his films biblical? Or more specifically: why does he seem to refer to Jesus all the time in his works?
Imamura challenges the viewer to suspend his rational view of life and to be immersed in communities that are founded on a basis of irrationality.