(Welcome to /Response, the companion piece to our /Answers series and a space where /Film readers can chime in and offer their two cents on a particular question.)
Earlier this week, the /Film team wrote about their favorite “oners” (or long takes) in movie history. We then opened the floor to our readers: which long shots leave your completely breathless? And you let us know!
We have collected our favorite answers (edited for length and clarity) below. Next week’s question: what is your favorite movie car chase of all time? Send your (at least one paragraph, please) answer to firstname.lastname@example.org!
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Ever since motion pictures began adopting Technicolor, the once-traditional use of black and white photography eventually went out the window. After all, an overwhelming majority of the population sees the world in full color, so why wouldn’t they want to see movies in the same way?
But while most of our movies are presented in color today, whether it’s tinted, saturated, toned, there are still plenty of respectable and mesmerizing movies from past and present that look positively stunning in black and white. From Stanley Kubrick’s Killer’s Kiss in 1955 to Steven Spielberg’s Schindler’s List in 1993 to last year’s A Girl Walks Home Alone at Night, there’s some amazing black and white imagery here.
Watch the black and white movies supercut after the jump! Read More »
As it has done in the past, the New York Times offered a great collection of conversations with directors this year, as the Anatomy of a Scene series gave the directors of many films a chance to dissect their approaches to major scenes in films such as Birdman, A Girl Walks Home Alone at Night, Interstellar, Foxcatcher, Wild, and others. (My only complaint is that directors such as Ava DuVernay and Jennifer Kent are MIA.) Below, you can watch the Anatomy of a Scene series from late 2014. Read More »
Posted on Thursday, November 27th, 2014 by Angie Han
One of the many reasons we’re thankful for Thanksgiving is that it cuts the work week short, giving us twice as much weekend time to spend at the movies. And there’s no shortage of titles right now to spend that time on. The only question is where to start.
To help you answer that, we’ve put together a helpful guide that (we hope) covers every base. Hit the jump for our list of 25 movies to watch this Thanksgiving. Read More »
A Girl Walks Home Alone at Night is a stylish and moody feature debut from very promising writer/director Ana Lily Amirpour. In this film, Amirpour combines a hearty set of influences — Iranian culture, Westerns, rock and roll films, and horror icons — to create a unique take on the vampire genre. It’s a sultry and compelling film, with all the energy of the late ’80s and early ’90s independent scene but a personality that isn’t quite like any of the influences it draws from. I can’t wait to see what Amirpour does next; in the meantime I’m ready to see this one again. Check out the new A Girl Walks Home Alone at Night trailer below.
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There’s an implied threat in the title of the film A Girl Walks Home Alone at Night. Those words together suggest menace and victimization. An image forms, not of a woman out for an enjoyable stroll, but of one who might not make it home.
A reversal of that threat is the core of this vampire film written and directed by Ana Lily Amirpour. Luminescent black and white photography buttresses a very spare approach to story. Into the tale are woven supernatural tropes, and elements of westerns and ’50s rebel movies. Shot in California but set in Iran, with dialogue in Farsi, the film’s images and characters are a collision of Iranian and American cultures, specifically with respect to social politics of sex and gender. This is an inversion of classic horror, because it is not about victimization of the person described in the title, but rather that person’s retaliation against forces that seek to dominate and subjugate.
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As things tend to go in Iranian film, we don’t hear about a lot of westerns, and probably fewer films that involve vampires. So when the claim can be made that A Girl Walks Home Alone at Night is the first Iranian vampire western, and one directed by a woman, to boot, there’s plenty reason to be curious. The film is Ana Lily Amirpour’s debut as a director, and will premiere at the Sundance Film Festival later this month.
Oh, and the film comes from SpectreVision, which is the relatively new genre-oriented company created by Elijah Wood, Daniel Noah and Josh C. Waller.
Check out a brief teaser and a striking poster, below. Read More »