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Active Measures

Active Measures (2018) – Transcript

The documentary film “Active Measures,” explores potential ties between President Trump and Russia. The documentary details Russia’s pattern of election interference and their motives to influence U.S. election systems.

Chaplin Interviewed by Richard Meryman (1966)

In 1966, Chaplin granted several extensive interviews to journalist Richard Meryman for a Life magazine article to promote ‘A Countess from Hong Kong.’ Only a small portion of Meryman’s taped interviews was ever published. A copy of the complete transcript, from which this excerpt was taken, is preserved in the Chaplin Archives.

Onibaba (Onibaba – Le assassine) – Recensione di Guido Cincotti [Bianco e Nero]

Siamo nel tormentato medioevo giapponese: la guerra civile infuria seminando lutti e miseria. In una capanna nascosta da un fitto canneto, tra la palude e il fiume, una donna anziana e una giovane, suocera e nuora, aspettano che torni il loro uomo. Per sopravvivere, tendono agguati a sperduti «samurai», li uccidono, li depredano, li gettano in un pozzo, vendono le spoglie a un mercante.

Uccellacci e Uccellini (1966) – Recensione di G. B. Cavallaro [Bianco e Nero]

Il film di Pier Paolo Pasolini, Uccellacci e uccellini ha un impianto allegorico, o per meglio dire da parabola. Il regista stesso parla di una «operetta poetica nella lingua della prosa» (come intenzione) dalla struttura magica e malinconica di favola. In altri momenti definisce il suo racconto «ideo-comico»

Eyes Wide Shut (1999) – Review by Stuart Klawans [The Nation]

Eyes Wide Shut is the work of an artist who long ago stopped paying attention to the world around him. If you are someone who cares about film culture, you will want to see it anyway, perhaps more than once. Respect for the rest of Kubrick’s work would demand no less.

Buster Keaton in Cops (1922)

Comedy’s Greatest Era | by James Agee

In 1949, the film critic James Agee published his influential essay “Comedy’s Greatest Era,” in which he recounts the golden years of silent comedy and proclaims that the genre’s “four most eminent masters” were Charlie Chaplin, Buster Keaton, Harold Lloyd, and Harry Langdon

Come Now, Dr. Strangelove – Review by Andrew Sarris

The great merit of Dr. Strangelove is its bad taste. It is silly to argue that we have the right to say anything we want but that to exercise this right is the height of irresponsibility. Responsible art is dead art, and a sane (no pun intended) film on the bomb would have been a deadly bore.

Buster Keaton

BUSTER KEATON – BY PENELOPE GILLIATT

Review of the Elgin Festival at the Elgin Theatre, where Keaton films are being shown. All ten of his full-length features and a lot of his rare two-reelers are included. Gilliatt tells about this Keaton’s work and about an interview she had with him in 1964, when he was 69, two years before his death.

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