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David Lean’s much maligned adaptation of a true-life 19th-century murder case, with Ann Todd as a woman accused of poisoning her lover, is a slippery melodrama whose upper-class trappings mask a subversive rape-revenge core, writes Brad Stevens.
Wednesday 11 July 2018
The nightmare to E.T.’s dream of a home-invading paranormal father figure, Sidney J. Furie’s radical 1982 horror film The Entity connects contemporary articulations of abusive, gaslighting patriarchy with the Gothic tradition’s ambiguous explorations of Evil, says Brad Stevens.
Monday 11 June 2018
From Repulsion to Blowup and beyond, 1960s movies made in Britain by foreign directors had something unsettling to tell us about a nation in flux – a warning that may yet reflect on our Brexit era, writes Brad Stevens.
Tuesday 24 April 2018
In Nicholas Ray’s classic film noir, Bogie plays a writer with an aversion to opening a book. Is this the reductio ad absurdum of macho masculinity, asks Brad Stevens?
Wednesday 28 March 2018
The first series of Jane Campion’s New Zealand crime drama showcases her fullest, feminist creative use of reflections, duplicates and doppelgängers, writes Brad Stevens.
Wednesday 28 February 2018
The original Twin Peaks changed both series television and David Lynch’s own artistic outlook. Whatever we term the series’ recent extension, it surely shows that distinctions of format are only as important as we expect them to be, writes Brad Stevens.
Wednesday 31 January 2018
How can we make sense of a filmmaker’s career when it is over as soon as it begins? Brad Stevens examines the ‘lost moments’ that foretell their directors’ own withdrawal from the role.
Monday 4 December 2017
This rarely shown film by the great Japanese director explores new ways for men and women to live together and apart – as victims of modernity spread their wings to embrace dangerous freedoms, writes Brad Stevens.
Monday 23 October 2017
The flipside of the director’s famed portraits of hubristic male adventurers, this Gertrude Bell biopic, still undistributed in the UK, not only features a rare female Herzogian protagonist but willingly adopts the style of a Nicole Kidman vehicle, writes Brad Stevens.
Tuesday 26 September 2017
Could these two bleakly comic films, one about a teacher lost in the outback and another about an 80s yuppie in peril on the streets of New York, have more in common than first meets the eye, asks Brad Stevens.
Tuesday 22 August 2017
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