Cameraperson

In approximately a decade’s time, if not slightly longer, Nicholas Ray directed a corpus of artistically successful films comparable to William Wyler’s run of exceptional movies in the 1940s and 1950s, to Yasujiro Ozu’s mature work from 1949 to 1962, and to Jean-Luc Godard’s cinematic experiments in the 1960s. Like Godard (who was deeply influenced…

Kon Ichikawa’s deeply humane, spiritually resonant masterpiece is routinely but reductionistically described as “pacifist” or “anti-war.” War, though, is the occasion for the central theme, not the theme itself, which is nothing less than the intractable mystery of suffering and evil, affirmation of spiritual values, and the challenge to live humanely in evil circumstances. Adapted…

We must decide to be human. In the People’s Square, before a great crowd of witnesses and in representing them, we must make the decision to be wholly human. Wim Wenders’ wonderful and dreamlike 1987 fantasy, Der Himmel über Berlin, portrays two angels observing the people of a divided Berlin.   As the camera floats freely…

It seems hardly coincidental that two films on the life of children’s television host and ordained Presbyterian minister Fred Rogers were released in as many years.  A Beautiful Day in the Neighborhood (2019), a feature starring Tom Hanks and directed by Marielle Heller, was nominated for the Top 100 but didn’t make the cut.  Morgan Neville’s 2018 documentary, Won’t…

“You gotta laugh, ain’t ya sweetheart? Else you’d cry.” This observation from working-class Londoner Cynthia Rose Purley (Brenda Blethyn) is a perfect summary of the tone running through Mike Leigh’s Palme d’Or-winning melodramatic masterpiece. A slice-of-life portrayal of broken individuals navigating the complexity of their familial ties, Secrets & Lies perfectly captures the quiet intensity of ordinary suffering. Both comic…

“What is the true meaning of life?” Polish director Krzysztof Kieslowski has asked. “Why get up in the morning? Politics doesn’t answer that.” The Decalogue, Kieslowski’s extraordinary, challenging collection of ten one-hour films made for Polish television in the dying days of the Soviet Union, doesn’t answer Kieslowski’s questions either. What it does is pose them…