But why, at that moment, I can’t say. Few if any Hollywood-adjacent filmmakers have put as much brain power into making the digital revolution work for them as Soderbergh has, and even Unsane’s most ridiculous moments coast on the sheer energy of aesthetic gamesmanship. A reread after a long time. It’s always just written from a place of nostalgia. Christopher Smith’s 14th-century period piece exudes an oppressive sense of physical, spiritual, and atmospheric weight, with grimy doom hanging in the air like the fog enshrouding its dense forests.

Start by marking “The Small Back Room” as Want to Read: Error rating book. That’s all the setup that co-writers/directors David Moreau and Xavier Palud need to dredge up some uniquely discomfiting chills. This idea of universality becomes coded language for who we’re actually speaking to if a majority of the people in the country are, in one way or another, affected by this issue. I’ve never been to a film festival, and I didn’t have all these dreams and hopes for it. By the time you get to Ranald MacDougall’s 1955 noir Queen Bee, in which Crawford delivers one of the greatest slaps in the history of the movies, that big-eyed, hopeful girl from Clarence Brown’s 1934 pre-Code drama Sadie McKee has been completely buried in the granite of obsessive self-preservation. How very English. The unspoken rules that she keeps breaking—asking the wrong questions, venturing into the wrong rooms, studying a menu incorrectly—all seem to lead back to the same source: Manderley is still in the ghostly grip of Max’s recently deceased wife, Rebecca.

Much of the film’s middle section details what’s either a waking nightmare for Mrs. de Winter (the most effective parts of the story plug into relatable anxieties over being found out or not measuring up) or extensive gaslighting campaign. Fisk began no further from home than Belfast, but in 1976 he arrived in Beirut, which became his permanent home base. Like, no wonder people get so self-absorbed because all it is is me talking about myself. This inspired me to read the book. Although Joan seems like an honest and empathetic woman, she’s actually a deceitful minion of Paimon, an avaricious king whom Annie accidentally helps to conjure from the dead. The film has an eerily WTF arbitrariness that should be the domain of more films in the genre. I hope to God I’ll never stop thinking about how weird it is.

Chris’s changing behaviors, which include chillingly crawling on the floor of his room like an animal and eating a large spider, are rooted in the distance that comes between Sarah and Chris after they leave Sarah’s abusive husband. Even the dopey, alcoholic bro might pipe up with a comment that comically cuts straight to the heart of the matter at hand. This is a very good book that deserves to be better known, more widely read. Recognizing that bit of shared kinship led to Raiff revealing a number of ways in which Shithouse reflects the specifics of a certain life experience in addition to the story’s broader applicability. However this is written by someone with real understanding of how organisations work, and how decisions are made. This is the book I come back time and again, and get more out of each time.

The story is little changed from Daphne du Maurier’s 1938 Gothic novel or Alfred Hitchcock’s 1940 Oscar-winning adaptation.

Namely, a strong subcurrent in the film is an observation about the alacrity and intensity with which connections are formed, and the extent to which one’s life can feel to change over the course of a weekend. Juliet (Sydney Sweeney) is jealous of her twin sister, Vivian (Madison Iseman).

The Archers’ reliable eye for actors, too, pays dividends in the large cast. Shooting on an iPhone 7, the filmmaker continues finding economical solutions in a pinch. None of the characters really stand up as three dimensional.

This film’s African-American characters also come under assault not in the inner cities of the white imagination, but in supposedly safer upper-class suburban spaces. To verify to Hall and Nivens that he is who he says he is, and trusting in them as representatives of authority, Tom gives them the keys to the storage unit that houses the cash he’s stolen over the years. In terms of developing a passion for film or movies. “What are you people?” Gabe (Winston Duke) asks when the terror begins. His Own Executioner: The Life of Nigel Balchin, SOLVED. He admits to speaking only “a bit” of Arabic. I think what I wanted to say about college was that it’s the first time for me without a safety net. Even the format’s deficiencies, from the rickety hum of sprockets to the instability of the frame, are savored by what seems like a nostalgic impulse—a fondness for the old-fashioned that even transforms the rough, granular quality of the haunted films themselves into something like pointillist paintings of the macabre. Basically, Humoresque is a film about Crawford’s face, that marvel of early make-up call architecture and brutal star self-will.

The setting of scientists in wartime was fascinating, and not something I've thought about before. Basically, it’s like, how do you make something good or bad, right? If there’s one regret here it’s that Crawford’s ego supposedly botched the ending, which now has her sobbing on a porch in the fashion of a woman’s issue movie from the ‘40s. I think I knew that it was universal, but I didn’t know if I communicated that well enough. Staring October 11, the Criterion Channel celebrates Crawford’s work with a career-spanning, 25-film retrospective. There are fleeting moments of camp in Crawford’s performance. A British weapons scientist in WWII has to deal with booby-trapped unexploded bombs dropped by the Germans. Marsh, Made in collaboration with Alexandre Aja and Grégory Levasseur, and with the sort of fearless artistic freedom often allowed by European financing, Franck Khalfoun’s Maniac begins with a psychopath’s synth-tastically scored stalking of a party girl back to her apartment, outside which he cuts her frightened scream short by driving a knife up into her head through her jaw. The Small Back Room book. But they choose to drink instead. In working to discover the technology behind these devices he has to find, dismantle and defuse one; a task that puts his life at immediate risk but provides a personal challenge far removed from the frustrations of everyday departmental work. The real success of the book is bringing characters and scenes to life in just a few deft well-chosen lines.

But Julie has the black notebook, which has a creepy sun symbol on the front and once belonged to the student who kills herself in the opening scene of writer-director Zu Quirke’s Nocturne. It rings very true, too true, and begs many questions about how we managed to win the war at all. The film’s characters note the field’s many young prodigies up through the 20th century, while the piercing gaze of a painting of young Mozart figures prominently as a towering forebearer. / Hour of Glory / Street Date August 19, 2008 / 39.95 Starring David Farrar, Kathleen Byron, Jack Hawkins, Milton Rosmer, Cyril … Following the sunny, happy-go-lucky Riviera opening, the film pivots into psychodrama mode once it relocates north to the gloomier English seaside. Honestly, when I was acting in it, it was pretty cathartic because there were certain scenes where I had never really gone there. To a great extent, then, like so many romantic comedies, Raiff’s film is a nostalgic refraction of commonly shared experience. And Shithouse is very comfortable with not being seen by a lot of people, it just comes across that way. The above content is owned by frenchfilms.org and must not be copied.

Despite his status and appearance, Sandeep is a charmless cipher, and so the ultimate revelation has no kick of perversity; we don’t feel the betrayal that women feel when a man they love hurts them. By the end of the war he’d risen to the rank of Brigadier General. It’s tempting to read these Americans as the embittered Trump base, rising up to destroy the false idyll that was the comfort—for some, at least—of the American status quo. I think my work has always inherently been collaborative. Dismissing the idea of that cottage in Ireland, Fisk says, “I still want to know what happens next.”, Director: Yung Chang Screenwriter: Yung Chang, Nelofer Pazira Distributor: KimStim Running Time: 106 min Rating: NR Year: 2019. Historical movies offer the ultimate in escapism. The film excels at capturing the emotional substance of what we think we remember about our pasts. While Max doesn’t say such things openly to his young bride, his simmering rages and habit of sleepwalking at night to stare wistfully at Rebecca’s now closed-off quarters suggest his still being in the grip of an undying passion. Unlike his earlier Up the Yangtze, which benefited from a narrower focus and compressed timeline, This Is Not a Movie isn’t especially shapely or propulsive. On set, being in the scenes and watching Dylan play Maggie, I just knew that all the scenes were working so well, and it had the magic that I wanted.

Shithouse recalls the best of Richard Linklater, not only because Raiff already proves his adeptness at mastering the director’s trademark “walk and talk” two-shots. A rushed and cartoonish final act, though, involving cops colluding in the uncontrolled detonation of parts of suburban Boston puts rest to such reveries. I’ll probably do a very similar thing. As Recife’s idle rich flaunt their privilege as lowly laborers circle them like sharks, conflict seems a guarantee.

That was me really having questions about classic American cinema and race relations between women. 1922 informs Stephen King’s pulp feminism with primordial, biblically ugly force. But then, the film’s interiors are so bare that at times they almost resemble Robert Bresson’s alienated cinematic spaces; its urban exteriors are so strangely devoid of life that their deadness recalls midcentury existentialism, as if this were Taken by Beckett. Yeah, it’s been so nice! The lure of lights, the bass of electro, the will to power, the kino eye—what hath this delight in pleasure and knowledge wrought? Nigel Balchin started the war as a psychologist in the personnel section of the War Office before transferring to the Army Council, eventually becoming Deputy Scientific Officer. He works as a weapon's scientist during WWII and is sick of the petty office politics at work. All content on this page is protected by copyright. Are you someone who needs to parse the events of your life through art, writing, or creating something to feel some sense of closure or finality in the experiencing of it? So did D.W. Griffith. This trio was followed by a stream of other fine novels, such as A Sort of Traitors, Sundry Creditors and The Fall of the Sparrow. When cut between commonplace scenes of Fox interfacing with the bureaucratic maze of the carceral state, the rushes of her past feel both tantalizingly close and also impossible to reclaim—all while her future with Robert appears indeterminate. The casual violence of Wilfred’s physicality is subtly calibrated, particularly the tension in his muscled back as he drinks lemonade on the porch after a hard day of murder. Balchin diversified into film scriptwriting after the war, winning a BAFTA for his work on The Man Who Never Was and penning what he whimsically described as “the first folio edition of Cleopatra”, being his original (unused) script for the Richard Burton/Elizabeth Taylor epic.

Bradley’s frequent deployment of stirring piano solos by Emahoy Tsegué-Maryam Guèbrou may give Time the aura of a fairy tale as Fox faces down a seemingly insurmountable system of oppression in the name of love, yet the film never loses grounding in the everyday realities and inhumanities made normal by mass incarceration.