In an article for the New Yorker, Richard Brody writes about the newly restored 1967 film by Hans-Jürgen Syberberg, Romy: Anatomy of a Face. The film “offers an intimate view…
At the New Yorker, Richard Brody shares a eulogy for director Michael Cimino: Cimino’s life work is a cinema of mourning, an art of grief, a nightmare of memory that finds its sole…
In the New Yorker, Richard Brody laments how little coverage there is of independent film in mainstream media. If film culture is to change for the better, he argues, critics…
Does screenwriting qualify as “real” writing? Over at the New Yorker, Richard Brody wonders what F. Scott Fitzgerald’s failed shot at Hollywood reveals about film as an industry and as…
It seems counterintuitive to say the least, but there were 100 takes filmed of the love-at-first-sight scene in Blue Is the Warmest Color, the French film that has garnered attention…
An artist’s work can take years to complete, while a critic’s take on said art can be formulated in a matter of hours. This distinction is pointed out early on…