Polish master filmmaker Krzysztof Kieslowski’s Dekalog is a unique film project based loosely on the Ten Commandments. Kieslowski’s dramatization of the ten religious ideals owes its success to his keen understanding of the complexities of human nature and morality. While the films speak volumes about the human condition and the moral structures we live by, they also refrain from judgment, preaching and dogmatism.
Author: Selin Sevinc
If we had to pick a single film from Alfred Hitchcock’s individually unique and brilliant filmography to stand as his cinematic signature, it would undoubtedly be Rear Window. It is the most literal expression of his fondness for our ‘peeping tom’ nature and a great example of his expert coalescence of suspense and humor. Disguising what is primarily a love story, the murder mystery in Rear Window is a classic Hitchcockian tale seen completely from the point of view of the protagonist.
One of the most accomplished auteurs of American cinema, John Cassavetes makes a subtle, honest and deeply sincere film about being a man in western society. In HUSBANDS, his three suburban New Yorker husbands represent the traditional male status quo, that of the married man with children, a dull job, a house, a car, a garage, a debt, a receding hairline, and a few buddies who faithfully remind them they are still who they always were, namely, hopeful young boys.
One of the most academically and critically acclaimed films of all times, Persona is a precious jewel in the history of world cinema. Its creator Ingmar Bergman had relentlessly stretched the boundaries of what we call cinema today throughout his career, but never before (or since) as significantly as he did with Persona. Many brilliant critics and academics have analyzed the bottomless depths of Persona. Here, I will concentrate on a few points that personally resonate with me every time I watch it.
When MINISTRY OF FEAR’s hero Stephen Neale (Ray Milland) steps out of the mental asylum in the middle of the night to confront his new life, we already have a sense that things are not going to look all that bright for him. As he promises his doctor that he’ll stay out of trouble and live a quiet life, we’re already dreading what awaits. We owe this feeling to director Fritz Lang’s eerie setting, lighting and pacing. As expected, Lang does not waste any time before he turns his hero’s life upside down.
The Coen Brothers’ debut film BLOOD SIMPLE leaves the audience speechless at its fade out. It sets the tone for a specific genre of Coen movies about ‘life getting ridiculously complicated for the silliest reasons’. As brilliantly articulated by J. K. Simmons’s character in the finale of BURN AFTER READING (another incarnation of the same Coen genre), ‘What did we learn here?’ echoes in our tickled minds. What did we just experience and why?
THE GREAT BEAUTY presents the quintessential European perspective on life and
cinema. The contrast between European and American traditions of not only moviemaking
but living couldn’t have been more stark than in Paolo Sorrentino’s take
on life, its meaning and its cinematic representation.