It's timely that A Fuller Life -- a documentary celebrating Samuel Fuller's career -- opens Friday at the Laemmle Noho 7 in Los Angeles, and that the Cinematheque Francaise in Paris has just mounted a massive retrospective of Francois Truffaut's work.
I've been covering the New York Film Festival since 1987 and have, over the years, developed a bit of a love/hate relationship with it, as an institution (specifically, Film Society of Lincoln Center) and as a festival.
Yesterday, a genuine conceptual and artistic film pioneer who was also possessed of an earnest conscience saw his final day on Earth. His genius work remains, and here's one of my favorite of his films, Mon Oncle D'Amerique, for your viewing pleasure.
Known in Europe and Africa for his highly creative work in documentary film, Rouch's work helped to spark The New Wave of French filmmaking, inspiring filmmakers like Francois Truffaut and Jean-Luc Godard.
All art is allusive, connected more or less visibly with earlier works of art. But in the modern era a number of artists have gone beyond earlier uses of allusion, in not only referring to other works, but quoting them precisely, and doing so with a frequency that exceeds earlier practice.
All the Oscar talk about this year's Best Foreign Film, Amour, has me thinking about the many French films I watched during my yearlong experiment of importing certain French parenting lessons to use on my two daughters.
Larry was intellectual, literary, and one of the most brainy artists of his generation, but there was always the feeling in the art world that the more intellectual the artist, the less talented the painter.