Michael Haneke’s use of circular structure in his films uniquely pulls the viewer in and involves them in the moral issues of the film.
The Frameland team looks back on 2017 and picks out their favorite underseen and unloved films in international cinema.
Few directors dare to deal with the supernatural within the context of a realistic drama. What are the pitfalls and how can the supernatural be handled successfully?
Two or Three Things I Know About Her: Godard’s attempt to capture contemporary life through a day in the life of a Parisian woman.
In this age of terrorism and radicalism, Taxi Driver proves to be a relevant and thorough study on the causes of radicalization.
A retrospective of of Mikio Naruse’s films offers a great chance to see the development of Japanese society and Japanese film history through his cinematic perspective.
Soviet propaganda turns into philosophical meditations by Dovzhenko, thereby planting the seed for the wave of poetic films decades later.
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.
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.
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?
The much maligned A View to Kill gains energy from exploring new ways to develop the James Bond formula.