Richard Brody
-
Portrait of an Actress
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 of the actress Romy Schneider, revealing crucial conflicts behind the…
-
At Heaven’s Gates
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 redemption in ecstasy—the heightened perception that transforms experience into a…
-
When Life Gives Critics Lemons
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 need to step out of their comfort zone and focus…
-
The Loneliest Art
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 an art: Fitzgerald was undone by his screenwriting-is-writing mistake. It’s…
-
Love at First Sight
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 for its 10-minute lesbian sex scene, an epic length for…
-
How Critics Affect Artists
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 in Richard Brody’s discussion of criticism at The New Yorker. …