In his first film, Fear and Desire (1953), Stanley Kubrick tried to universalize the experience of soldiers in combat. This is a theme he grappled with for the rest of his career, but shrinks compared to the reality of the subject.
What typifies Steve McQueen’s work in film and how does McQueen import those distinctive features of his artwork into his first narrative feature? A degree of expressionism suggests an answer which is applicable to many of his films.
At the last Teach-In of 2017, Ida Lupino’s career as a woman auteur in the 1950s was the center of a discussion which took in a wide range of topics. Hard, Fast and Beautiful was screened, but Lupino’s vision and the visibility of women filmmakers were under scrutiny.
How can a film in itself be a revolution? This question is part of a conversation about the films of Sergei Eisenstein. Eisenstein believed that a film is a linguistic object in itself, one with a creative power to make real counterfactual truths.
Bitch, a dark comedy playing at the Cinémathèque this week, is an important film about our culture today, but it also brings to mind world cinema from fifty years ago that first brings people into Facets for the first time.
At the heart of the discussion at Facets’ “What is Islam?” Teach-In was distinguishing the individual from the collective. Laith Al-Saud, a continuing lecturer at De Paul University, discussed some particulars of Islam, along with the film Malcolm X, and his personal growth as a Muslim American.
What can an unusual film tell us about how philosophers think about language? It’s kind of a long story…
The tools of digital filmmaking are opening film to more expressive power including in documentaries like I Am Another You, the new film by Nanfu Wang.
Capturing profound changes in biopics is best accompanied by bold changes in style.
Why you should see what’s now playing at the Cinémathèque before the end of October.