Weekend (1967) – Review by Pauline Kael

2020-02-07T12:43:04+00:00February 7th, 2020|CINEMA|

Only the title of Jean-Luc Godard’s new film is casual and innocent; Weekend is the most powerful mystical movie since The Seventh Seal and Fires on the Plain and passages of Kurosawa. We are hardly aware of the magnitude of the author-director’s conception until after we are caught up in the comedy of horror, which keeps going further and becoming more nearly inescapable, like Journey to the End of the Night.

La Chinoise: A Minority Movie – Review by Pauline Kael

2020-02-04T20:53:36+00:00February 4th, 2020|CINEMA|

Jean-Luc Godard's "La Chinoise" is a satire of new political youth, but a satire from within, based on observation, and a satire that loves its targets more than it loves anything else — that, perhaps, can see beauty and hope only in its targets.

PIER PAOLO PASOLINI: IL «CINEMA DI POESIA»

2020-06-07T12:12:39+01:00April 14th, 2019|CINEMA|

La distinzione che io faccio tra cinema di prosa e cinema di poesia non è una distinzione di valore, è una distinzione puramente tecnica. Se dovessi definire questa distinzione direi che nel cinema di prosa i protagonisti, come nei romanzi classici, sono i personaggi, la loro storia e il loro ambiente. Nel cinema di poesia invece il protagonista è lo stile.

BAND OF OUTSIDERS: GODARD AMONG THE GANGSTERS – REVIEW BY PAULINE KAEL

2020-05-02T11:22:43+01:00February 27th, 2018|CINEMA|

Jean-Luc Godard intended to give the public what it wanted. His next film was going to be about a girl and a gun—”A sure-fire story which will sell a lot of tickets.” And so, like Henry James’ hero in The Next Time he proceeded to make a work of art that sold fewer tickets than ever. What was to be a simple commercial movie about a robbery became Band of Outsiders.