#expressionist-cinema

#expressionist-cinema

François Ozon's adaptation of The Stranger, while visually stunning, reveals the limitations of cinema in depicting the complex inner states of consciousness that Camus masterfully crafted in his text.

Kluge was an accomplished director of intellectually rewarding, if at times oblique filmic essays, and an ever-productive writer of short fiction. He played a key role in organising the rule-breaking New German Cinema movement that brought forth better-known auteurs such as Rainer Werner Fassbinder and Werner Herzog.

Claude Chabrol, the celebrated co-founder of the French New Wave, stated, 'Because men are living, and women are surviving. Cinema is about surviving.' This profound insight influenced Petzold's approach to storytelling.

The invention of the Cinématographe was ready right away. The process of the invention was longer, and there were a lot of inventors before Lumière.

Set on the blossom tree-lined fringes of Hyde Park in London, Herbert Wilcox's black-and-white rom-com blows in like a fresh spring breeze. The film charts the will-they-won't-they romance between Richard (Michael Wilding), a wealthy lord masquerading as a butler, and Judy (Anna Neagle), the niece of the family who employs him.

The inquiry was like thousands of others. Somebody had potentially cool films they thought might interest the Library of Congress. But it was brand new for Jason Evans Groth... In September, he stepped outside the National Audio-Visual Conservation Center in Culpeper, Virginia, to meet Bill and Mary McFarland, who had driven from Michigan with about 40 strips of celluloid that had once belonged to Bill's great-grandfather.

A vast, miserable proletariat squanders its days in meaningless toil. Society is under the control of ultra-wealthy business magnates. In order to pacify the underclass, the ruling class pins its hopes on a technological solution: artificial intelligence. Welcome to the year 2026, as envisioned in Fritz Lang's Metropolis.

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

The Good, the Bad, the Mischievous: Cool Illustrations by Max Grecke Artist Draws Faces He Sees In Everyday Objects Lithuanian Artists Creates A Tiny Urban Project With City Signs The Graphic Designer Reworking Fashion's Most Iconic Logos Meet Yang Qi, Main Character Designer On 'Black Myth Wukong' Awesome Dad Turns Daughter's Eyepatch Into Art With Amazing Drawings This Artist Removes Make-Up From The Dolls To Give Them A More Realistic Look

"Spirit is Life. It flows thru the death of me endlessly like a river unafraid of becoming the sea." -Gregory Corso ST. LOUIS - At 2,340 miles, the "mighty" Mississippi River borders no fewer than eight American states. Missouri is among them, where the city of St. Louis has been the site of both tenacious (and pugnacious) expansionist gusto and, in the wake of midcentury de-industrialization, precipitous decline.

Artist and filmmaker Viv Li was born and raised in Beijing, but has lived abroad for 15 years-a fact that has inspired several of her films, in which she navigates identity politics and belonging. An alumna of the Sundance Institute and Berlinale Talents, her latest film 'Two Mountains Weighing Down My Chest' is having its world premiere at the 2026 Berlinale, featured in the Panorama Dokumente section.

A quarter-century later, it's safe to say that those days have come to an end. Not only does the streaming-only Netflix of the twenty-twenties no longer transmit movies on DVD through the mail (a service its younger users have trouble even imagining), it ranks approximately nowhere as a preferred cinephile destination. That has to do with a selection much diminished since the DVD days

The event draws both locals and migrants returning from the U.S., celebrating the traditional Michoacán cowboy and creating an atmosphere of nostalgia-while serving as a grand reminder of "what it means to be a man" in rural Mexican society. Beneath the rodeo's spectacle lies its subconscious pulse: fleeting touches, knowing glances and secretive hookups in the woods behind the arena.

Before he was a filmmaker, David Lynch was a painter and, if you're familiar with his esoteric filmmaking practice - peppered as it is with some of cinema's most indelible imagery - it all makes a lot of sense. A year after the auteur's passing, a newly opened show at Pace Gallery's Berlin space, Die Tankestelle, foregrounds Lynch's career-spanning fine art practice and its inextricable link to his cinematic oeuvre.

Separating the art from the artist can be easier debated than done. In 1967, Roland Barthes infamously argued in his essay "The Death of the Author" that a writer's biography should be irrelevant to the meaning or value of their work. In 1983, Nora Ephron asserted the opposite in her novel, : "Everything is copy." Today's pop culture has tended to agree with Ephron's take: Confession fuels the biggest songs; celebrity memoirs dominate best-seller lists.

an Act of Killing-style re-enactment of the 1919 conquest of the Adriatic city of what is now Rijeka by a rag-tag army assembled by the proto-fascist dandy-poet Gabriele D'Annunzio. It was precisely the kind of quirky cinematic gem that the European film awards should be there to champion: a film ignored by the main festivals, about an overlooked but relevant episode in history.