French director Laurent Cantet (Going South, Time Out) has always “pursued the same obsession , which is that his characters are looking for their place in society and unable to find it,” says Cantet’s producer Caroline Benjo, speaking on the phone to N.Y. Times writer Leslie Camhi . “At the same time, he’s always questioning the horror of an economic system in which, if you don’t perform, whether it’s financially, sexually or affectively, you’re seen as subhuman .”
Roughly two months ago a very early draft of Eric Roth‘s screenplay for Killers of the Flower Moon (dated 2.20.17,...
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Frances McDormand‘s Fern was strong but mule-stubborn and at the end of the day self-destructive, and this stunted psychology led...
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Can’t decide which performance is better, although I’ve always leaned toward Tina Vitale, her cynical New Jersey moll behind the...
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Two days ago (1.19) a Facebook tribute congratulated Tippi Hedren for having reached her 94th year (blow out the candles!)...
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A friend suggested a list of the Ten Best American Crime Flicks of the ‘70s. By which he meant films...
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I’ve never been able to give myself over to Sam Peckinpah’s Major Dundee, a 1965 Civil War–era western, and I’ve...
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