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The Story of ‘Saboteur’, Hitchcock’s First Truly American Film • Cinephilia & Beyond ▶1:07・
‘Eyes Wide Shut’: A Tense, Nightmarish Exploration of Marriage and Sexuality in Kubrick’s Ultimate Film • Cinephilia & Beyond ▶49:51・
With ‘Barry Lyndon,’ Stanley Kubrick’s Painterly Eye Invites Us to Be All-seeing, but Ultimately, Unknowing—Revisiting a Masterpiece on Its 50th Anniversary • Cinephilia & Beyond ▶・
Filming the Unfilmable and Achieving the Unimaginable: How Kubrick’s ‘Lolita’ Eventually Won Critics Over and Established Itself as an Acclaimed Sardonic Black Comedy • Cinephilia & Beyond ▶・
Eros and Thanatos Collide in David Cronenberg’s Id-Driven Adaptation of J.G. Ballard’s ‘Crash’ • Cinephilia & Beyond ▶・
How Francis Ford Coppola Breathed New Life into ‘Bram Stoker’s Dracula’ • Cinephilia & Beyond ▶・
‘Close Encounters of the Third Kind’: Steven Spielberg’s Gamble That Paid Off Generously • Cinephilia & Beyond ▶・
‘Pulp Fiction’: How Quentin Tarantino Made a Postmodern Masterpiece • Cinephilia & Beyond ▶・
Limitation of Life: You Can’t Go Back in John Frankenheimer’s ‘Seconds’ • Cinephilia & Beyond ▶・
Rats in the Attic: William Friedkin’s ‘The Exorcist’—Revisiting a Masterpiece on its 52nd Anniversary • Cinephilia & Beyond ▶・
‘Magnolia’: Paul Thomas Anderson’s Absorbing Mosaic of Compassion, Humanity and the Importance of Forgiveness • Cinephilia & Beyond ▶・
The Greater the Truth, the Greater the Damage: ‘The Insider,’ Michael Mann’s White-Collar Thrill Ride of Corporate Malfeasance • Cinephilia & Beyond ▶・
‘Back to the Future’: Robert Zemeckis and Bob Gale’s Timeless and Endlessly Fun Hybrid of Genres • Cinephilia & Beyond ▶・
‘American Cinema’ explores film history and American culture through the eyes of over 150 Hollywood insiders • Cinephilia & Beyond ▶・
“If You’re Going to Sell Your Soul to The Devil, the Consequences Are There for You to Suffer”: Ridley Scott and Cormac McCarthy’s ‘The Counselor’ • Cinephilia & Beyond ▶・
‘After Hours’ at 40: Celebrating Scorsese’s Kafka-Inspired New York Odyssey • Cinephilia & Beyond ▶・
‘I Wish I Knew How to Quit You’: Ang Lee’s Deeply Tragic ‘Brokeback Mountain’ Smolders with Slow-Burning Despair • Cinephilia & Beyond ▶・
‘Stalker’: Andrei Tarkovsky’s Merger of Contemplative Style and Transcendental Substance Designed to Put Us in the Zone • Cinephilia & Beyond ▶・
‘A History of Violence’ at 20: David Cronenberg’s Superb Study of the Basic Impulses that Drive Humanity • Cinephilia & Beyond ▶・
“No One Is Just Anything”: In William Friedkin’s ‘Sorcerer’, Four Reduced Men Must Gamble with Life to Give It Value • Cinephilia & Beyond ▶・
An Agency of Chaos: Christopher Nolan’s ‘The Dark Knight’ • Cinephilia & Beyond ▶・
‘To Live and Die in L.A.’ at 40: How Friedkin Made One of the Best Films of the Eighties • Cinephilia & Beyond ▶・
Paradise is around here: A Rare Interview with Akira Kurosawa by Maani Petgar • Cinephilia & Beyond ▶・
‘Heat’ at 30: Michael Mann’s Meticulous Masterpiece of Both Style and Substance That Transcends Genre • Cinephilia & Beyond ▶・
Run Through the Jungian: Stanley Kubrick’s ‘Full Metal Jacket’, a Phenomenological Treatise on War • Cinephilia & Beyond ▶・
‘Midnight Run’ at 37: Martin Brest’s Cult-Action Comedy that Just Doesn’t Seem to Get Old • Cinephilia & Beyond ▶・
Before the Internet: The Essential Role of Film Magazines in Filmmaking Education • Cinephilia & Beyond ▶・
Paul Schrader’s ‘Hardcore’: A Gripping Juxtaposition of Religious Rigidity and Unabashed Sexuality • Cinephilia & Beyond ▶・
The Stories Our Bodies Tell: Cronenberg’s ‘Eastern Promises’ is a Genre-Defying Crime Drama that Explores Identity in the Context of Closed Communities • Cinephilia & Beyond ▶・
The Cinematic Legacy of Donald E. Westlake • Cinephilia & Beyond ▶・
‘Horror Implied, as Opposed to Explained… That’s Michael Mann’s Strength (Will)’—‘Manhunter’ • Cinephilia & Beyond ▶・
Visions of Light: The Art of Cinematography • Cinephilia & Beyond ▶・
‘The Killing of a Chinese Bookie’: Turning Entertainment into Personal Statement—Revisiting a Masterpiece on Its 50th Anniversary • Cinephilia & Beyond ▶・
Peter Weir’s ‘Dead Poets Society’ at 36: An Awe-Inspiring Celebration of the Human Spirit • Cinephilia & Beyond ▶・
‘The Godfather’ at 53: A Historical Curiosity that Proved Instrumental for Our Filmmaking Education and Appreciation • Cinephilia & Beyond ▶・
‘Out of the Past’ at 78: The Quintessential Film Noir that Launched Robert Mitchum and Kirk Douglas’ Careers • Cinephilia & Beyond ▶・
‘Bonnie and Clyde’: An Exquisite Filmmaking Vision that Captured the Essence of the Sixties • Cinephilia & Beyond ▶・
From Facebook to ‘Fuck-You Flip-Flops’: How Aaron Sorkin and David Fincher Made ‘The Social Network’ a Fiery Word-Off • Cinephilia & Beyond ▶・
‘Psycho’ at 65: The Proto-Slasher that Brought On a Revolution in Cinema • Cinephilia & Beyond ▶・
‘The Past, Present and Future of Humanity’: John Boorman’s ‘Excalibur’ at 45 • Cinephilia & Beyond ▶・
Empire’s End: John Huston’s ‘The Man Who Would Be King’—Revisiting a Masterpiece on Its 50th Anniversary • Cinephilia & Beyond ▶・
‘Minority Report’: Steven Spielberg’s Proof that You Don’t Need to Sacrifice Substance to Produce Spectacle • Cinephilia & Beyond ▶・
‘Angels with Dirty Faces’: Michael Curtiz’s Touching Gangster Classic Forged Under the All-Seeing Eye of the Hays Code • Cinephilia & Beyond ▶・
How John Schlesinger’s Homeless and Lonesome ‘Midnight Cowboy’ Rode His Way to the Top and Became the First and Only X-rated Movie to Win a Best Picture Oscar • Cinephilia & Beyond ▶・
‘Sleuth’ (1972): Olivier and Caine’s Battle of Wits and One-Upmanship in Joseph L. Mankiewicz’s Cerebral Mystery Thriller • Cinephilia & Beyond ▶・
Fixed Images of Eternity: Time, Perception, and Grief in ‘Don’t Look Now’ • Cinephilia & Beyond ▶・
‘Punch-Drunk Love’: The Hilarity of Anxiety and Blossoming Love in Paul Thomas Anderson’s ‘art house Adam Sandler film’ • Cinephilia & Beyond ▶・
The Chaotic Genius of ‘Brazil’: Terry Gilliam’s Dystopian Masterpiece at 40 • Cinephilia & Beyond ▶・
‘The Conversation’: Francis Ford Coppola’s Paranoia-Ridden Tale of Surveillance, Guilt and Isolation • Cinephilia & Beyond ▶・
The Sheep That Got Found: ‘Man on Fire’ • Cinephilia & Beyond ▶・
“As far back as I can remember, I always wanted to be a gangster” • Cinephilia & Beyond ▶・
Slaughterhouse Twelve: Robert Aldrich’s ‘The Dirty Dozen’ • Cinephilia & Beyond ▶・
‘There Will Be Blood’: Paul Thomas Anderson’s Epic Take on American Identity with Day-Lewis’ Performance of a Lifetime • Cinephilia & Beyond ▶・
“I’ll Be Bond”: Arnold Schwarzenegger and James Cameron’s Everything or Nothing Shot at the James Bond Title • Cinephilia & Beyond ▶・
The Matrix Revelation: How the Wachowskis Opened Our Eyes to a New Kind of Action Cinema • Cinephilia & Beyond ▶・
Ridley Scott’s ‘Blade Runner’: A Game-Changing Science-Fiction Classic • Cinephilia & Beyond ▶・
Carol Reed’s ‘The Third Man’: How Orson Welles Stole a Show He Was Barely In • Cinephilia & Beyond ▶・
‘Frankenstein’: James Whale’s Macabre Take on One of the Most Sympathetic Characters Ever Created in the World of English Letters • Cinephilia & Beyond ▶・
‘Network’: Sidney Lumet and Paddy Chayefsky’s Gruesome Prophecy Turned Reality—Revisiting a Masterpiece on Its 49th Anniversary • Cinephilia & Beyond ▶・
Approaching Menace: The American Pathology of Martin Scorsese’s ‘Taxi Driver’—Revisiting a Masterpiece on Its 50th Anniversary • Cinephilia & Beyond ▶・
John Carpenter’s ‘The Thing’: The Story of an SF Horror Game-Changer • Cinephilia & Beyond ▶・
Paradise Lost: How Martin Scorsese’s ‘Casino’ Charts the Rise and Fall of a Criminal Empire—Revisiting a Masterpiece on Its 30th Anniversary • Cinephilia & Beyond ▶・
‘Sunset Boulevard’ at 75: Billy Wilder and Charles Brackett’s Sobering Exposure of the Dark Side of Hollywood • Cinephilia & Beyond ▶・
‘Strangers on a Train’: A Technically Perfect Psychological Carousel as One of Hitchcock’s Best • Cinephilia & Beyond ▶・
‘Fight Club’ at 26: David Fincher’s Stylish Exploration of Modern-Day Man’s Estrangement and Disillusionment • Cinephilia & Beyond ▶・
Scorsese On the Ropes: The ‘Kamikaze’ Film-Making of ‘Raging Bull’ • Cinephilia & Beyond ▶・
L.A. Breakdown, a Hitman In Crisis: Michael Mann’s ‘Collateral’ at 21 • Cinephilia & Beyond ▶・
‘To Live and Die in L.A.’: The Intelligent, Authentic Thriller as One of the Highlights of Friedkin’s Career • Cinephilia & Beyond ▶・
‘Shadow of a Doubt’: Hitchcock’s Disquieting Little Subversive Masterpiece • Cinephilia & Beyond ▶・
Peter Weir’s ‘Fearless’ as a Soulful Slice of Life That Gently Examines the Human Condition • Cinephilia & Beyond ▶・
‘Boogie Nights’: Paul Thomas Anderson’s Priceless 155-Minute Film School • Cinephilia & Beyond ▶・
‘Miller’s Crossing’ at 35: A Lamentation of Losers by the Coen Brothers • Cinephilia & Beyond ▶・
40 Years of Hurt, Face-Hugging Dreams of Breathing: Ridley Scott’s ‘Alien’ • Cinephilia & Beyond ▶・
‘In the Mouth of Madness’ at 30: John Carpenter’s Love Letter to H.P. Lovecraft and the Subgenre of Cosmic Horror • Cinephilia & Beyond ▶・
‘Se7en’ at 30: A Rain-Drenched, Somber, Gut-Wrenching Thriller that Restored David Fincher’s Faith in Filmmaking • Cinephilia & Beyond ▶・
‘Annie Hall’: One of the Last Beautiful American Films of the Pre-Blockbuster Era • Cinephilia & Beyond ▶・
How ‘Once Upon a Time in America’ Became Sergio Leone’s Butchered Swan Song • Cinephilia & Beyond ▶・
Terrence Malick’s ‘Days of Heaven’ is one of the most stunning films ever to be featured on the silver screen • Cinephilia & Beyond ▶・
Jeeps in the Orchard: The Logistical “Laters” of Attenborough’s ‘A Bridge Too Far’ • Cinephilia & Beyond ▶・
‘Rebecca’ at 85: Why Hitchcock’s First American Film Was so Ahead of Its Time • Cinephilia & Beyond ▶・
‘One Flew Over the Cuckoo’s Nest’ at 50: Miloš Forman’s Mosaic of Brilliance With a Lesson Still As Important As Ever • Cinephilia & Beyond ▶・
‘Point Blank’: John Boorman’s Amalgamation of American, British and French Filmmaking Styles • Cinephilia & Beyond ▶・
‘Mise-en-Scène’ and Fritz Lang: The Invaluable, Short-Lived Magazine’s Article on the Master of Darkness • Cinephilia & Beyond ▶・
‘The Tree of Life’: The Soul-Shaking Beauty and Pain of Terrence Malick’s Intimate Epic on Family, Nature, and Memory • Cinephilia & Beyond ▶・
Spike Lee’s ‘25th Hour’: A Masterful Depiction of a Post-9/11 New York City that Explores Regret, Guilt and Uncertainty • Cinephilia & Beyond ▶・
‘The Elephant Man’: A Portrait of an Outcast Defeating His Fears and Deformities with Creativity, Wit and Compassion • Cinephilia & Beyond ▶・
Sidney Lumet and Paddy Chayevsky’s ‘Network’: The Grim Prophecy that Was Once Just Brilliant Satire • Cinephilia & Beyond ▶・
‘Catch Me If You Can’: Steven Spielberg’s Underrated Crime Comedy Is a Touching Drama About Identity, (Self-)Deception and Broken Families at Its Core • Cinephilia & Beyond ▶・
‘Spellbound’ at 80: A Star-Studded Love Story in Dalí’s Design and Hitchcock’s Style • Cinephilia & Beyond ▶・
The Art of Cinematography: 10 Essential Documentaries Everyone Should See • Cinephilia & Beyond ▶・
‘The Producers’: An Unyieldingly Entertaining Satire that Launched Mel Brooks’ Career • Cinephilia & Beyond ▶・
A Unique Perspective on the Making of ‘Stalker’: The Testimony of a Mechanic Toiling Away under Tarkovsky’s Guidance • Cinephilia & Beyond ▶・
‘A Woman Under the Influence’: Cassavetes’ Intense and Emotionally Exhausting Slice of Life • Cinephilia & Beyond ▶・
‘Bringing Out the Dead’: Martin Scorsese’s Deeply Humane Unsung Gem • Cinephilia & Beyond ▶・
‘The Parallax View’: Pakula’s Unsettling Examination of the Post-Compliant America • Cinephilia & Beyond ▶・
‘Persona’: Ingmar Bergman’s Psychological Masterpiece as the White Whale of Critical Analysis • Cinephilia & Beyond ▶・
‘The Magnificent Ambersons’: The Fascinating Story of Orson Welles’ Studio-Tainted Masterpiece • Cinephilia & Beyond ▶・
‘JFK’: Oliver Stone’s Emotionally Accurate and Masterfully Crafted Trip Down the Rabbit Hole • Cinephilia & Beyond ▶・
Provocative, pensive and splendidly acted, Hitchcock’s ‘Rope’ is a heck of a film • Cinephilia & Beyond ▶・
Alan Parker’s ‘Mississippi Burning’: Making a Powerful Social Commentary From Inside the Hollywood System • Cinephilia & Beyond ▶・
Paul Thomas Anderson’s ‘Hard Eight’, AKA ‘Sydney’: “It’s Always Good to Meet a New Friend” • Cinephilia & Beyond ▶・
The Uses of Disenchantment: How Michael Mann’s ‘The Keep’ Fell Into Neglect • Cinephilia & Beyond ▶・
Jean-Pierre Melville: Life and Work of a Groundbreaking Filmmaking Poet • Cinephilia & Beyond ▶・
‘The Last Temptation of Christ’ As a Testament to and an Exploration of Scorsese’s Own Faith • Cinephilia & Beyond ▶・
Take It to the Limit One More Time: Michael Mann’s ‘Miami Vice’ at 19 • Cinephilia & Beyond ▶
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