Alfred Hitchcock’s “Vertigo” is a meta ghost story, according to legendary author Rachel Kushner.
The California writer, whose latest novel “Creation Lake” will be released in September, appeared on the Criterion Channel’s “Adventures in Moviegoing” series to share her favorite San Francisco-set films. Of course, “Vertigo” was on the top of her list, both due to her personal connections to the locations captured by Hitchcock onscreen and just how much the 1958 film still haunts the city itself 70 years later.
The beloved thriller stars James Stewart as a former police detective who becomes obsessed with a woman (Kim Novak) he is hired to investigate. (Read our list of Alfred Hitchcock’s best movies here.)
“I find ‘Vertigo’ to be an exquisite movie,” Kushner said. “There’s this sense of holographic ghosts hovering in San Francisco and come to think of it, the holograph is an imagery that is actually...
The California writer, whose latest novel “Creation Lake” will be released in September, appeared on the Criterion Channel’s “Adventures in Moviegoing” series to share her favorite San Francisco-set films. Of course, “Vertigo” was on the top of her list, both due to her personal connections to the locations captured by Hitchcock onscreen and just how much the 1958 film still haunts the city itself 70 years later.
The beloved thriller stars James Stewart as a former police detective who becomes obsessed with a woman (Kim Novak) he is hired to investigate. (Read our list of Alfred Hitchcock’s best movies here.)
“I find ‘Vertigo’ to be an exquisite movie,” Kushner said. “There’s this sense of holographic ghosts hovering in San Francisco and come to think of it, the holograph is an imagery that is actually...
- 8/27/2024
- by Samantha Bergeson
- Indiewire
Weekend capped Jean-Luc Godard’s insanely productive year of 1967, and can rightly be considered the director’s Götterdämmerung. Both projects make their respective points with sledgehammer subtlety, and along with Godard’s previous features that year, 2 or 3 Things I Know About Her and La Chinoise, Weekend consummates an anti-consumerist thematic cycle.
As one of its frequent title cards proclaims, Godard approached Weekend as “a film found in a dump.” It is a Dadaist, no holds barred decimation of modern French society filled with shocking violence, Marxist theory and some really, really awful driving. Told through a series of set pieces –often with elaborate and impressive production techniques– Weekend leaves no aspect of class struggle unexplored or unscathed. As the world lurches by in fits and starts, Godard’s ever evolving absurdist tableau amuses, stuns and mystifies, casting a cinematic butterfly net over a society at war with itself.
The film...
As one of its frequent title cards proclaims, Godard approached Weekend as “a film found in a dump.” It is a Dadaist, no holds barred decimation of modern French society filled with shocking violence, Marxist theory and some really, really awful driving. Told through a series of set pieces –often with elaborate and impressive production techniques– Weekend leaves no aspect of class struggle unexplored or unscathed. As the world lurches by in fits and starts, Godard’s ever evolving absurdist tableau amuses, stuns and mystifies, casting a cinematic butterfly net over a society at war with itself.
The film...
- 11/20/2012
- by David Anderson
- IONCINEMA.com
Photo: Alix Cléo Roubaud, Portrait de Jean Eustache, 1981 © Fonds Alix Cléo Roubaud
An interview with Jean Eustache conducted by Philippe Haudiquet and originally published in La Revue du Cinéma, no. 250, May 1971. Translation by Ted Fendt.
Philippe Haudiquet: You’ve made four films that to me seemed to indicate a personal path in our cinema. Now, you want to do something completely different. Where does this break between the films you directed before and the last one come from?
Jean Eustache: I decided to break with the films that I was making because they were suffocating me.
Ph: Why were they suffocating you? Wasn’t it a kind of cinema that had already broken away from the system, as much in terms of how it was made (production and direction) as by its choice of subject matter?
Je: Yeah, but as I was working more in an artisanal manner,...
An interview with Jean Eustache conducted by Philippe Haudiquet and originally published in La Revue du Cinéma, no. 250, May 1971. Translation by Ted Fendt.
Philippe Haudiquet: You’ve made four films that to me seemed to indicate a personal path in our cinema. Now, you want to do something completely different. Where does this break between the films you directed before and the last one come from?
Jean Eustache: I decided to break with the films that I was making because they were suffocating me.
Ph: Why were they suffocating you? Wasn’t it a kind of cinema that had already broken away from the system, as much in terms of how it was made (production and direction) as by its choice of subject matter?
Je: Yeah, but as I was working more in an artisanal manner,...
- 9/24/2012
- MUBI
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