This distinctly personal journey into the artistic possibilities of independent film is not to be missed. Jonas Mekas, Jean-Pierre Gorin, Robert Kramer and many other visionaries and mavericks of the silver screen – as well as a book seller, a critic and a psychoanalyst – discuss what cinema has meant to them, what it is and what it could be and, implicitly, how it has changed over the 18 years in which this film was shot. Director Boris Lehman leads the charge, drawing in moments of absurdist humour and inventive camera work; he keeps things raw and spontaneous. His encounters with the now much-missed Jean Rouch and Stephen Dwoskin are particularly touching and stand testament to their personal playfulness and candour. An engaging, absorbing, epic odyssey of a movie.
The history of Hollywood is as ugly as it is beautiful. Most notably absent from Hollywood history are Black-produced films. “They’ve Gotta Have Us” explores the rise of Black cinema.
Mirrorball is full of passion and love for the medium of cinema and is indeed a fitting love letter to La La Land.
This modern update of the beloved classic swaps Cyrano's signature pronounced nose for achondroplasia, for a different vision that still retains the original's essence.
Welcome to the first episode of the Incluvie Movie Highlights! We shine a spotlight on our favorite new movies that stand out for diversity and identity. Is Everything Everywhere All at Once too weird, or just the right amount of weird?
I suppose you could argue that the story wasn’t what Director James Cameron was aiming for, it was the visuals. The spectacle of it all was the point, and it certainly shows.
