As one of the most terrifying and depressing films ever made, Threads leaves no room for a hopeful future for humanity. A troubling message that resonates today as we face extinction on a massive scale but have trouble imagining that unthinkable predicament.
The Train (1964) John Frankenheimer was a cinematic craftsman who could work on different genres with varying results but always with a professional attitude. Much like Sydney Lumet, Richard Donner, and Franklin J. Schaffner he was a prolific filmmaker who started out in television. TV wasn’t a bad place to start in the fifties as […]
The Lost Arcade is that rarest of documentaries. An evocative film about a urban subculture but also a chronicle about a unique place and the changing fabric of the city.
In our third festival report, we look at documentaries about the ties that bind. From a family struggling to survive in downtown Philadelphia to an eccentric Spanish matriarch and her unusual relationship with her children.
In our first exclusive IDFA festival report, George Vermij looks at the mysteries of the creative process and the dilapidated charm of Havana.
Broadcast in 2005, Charlie Brooker and Chris Morris’ sardonic series Nathan Barley was prescient in an uncanny way.
The oldest student city in the Netherlands will host The Leiden International Film Festival (LIFF) these coming weeks. At Frameland, Marloes den Hoed and George Vermij already have their sights on some of the movies that you have to see.
In our second article that deals with the Cold War, we look at the follow up to Tinker, Tailor, Soldier, Spy. In Smiley’s People Alec Guinness returns as the eponymous spymaster who travels through Europe to track down the elusive Karla.
In light of Atomic Blonde’s return to the Cold War, a look back at one of
the BBC’s greatest achievements, the miniseries Tinker Tailor Soldier
Spy. Based on John le Carré’s classic novel, it still persuasively shows that
a secret service reveals a nation’s true character.
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.
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.