Tag: The Reel Argument
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The Reel Argument: Kenji Mizoguchi
Kenji Mizoguchi made films about women being destroyed by the world, and he made them with a camera that moves like a conscience — slowly, continuously, unable to look away. He is the greatest filmmaker Japan has produced on the subject of female suffering, which is to say he is the greatest filmmaker Japan has…
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The Reel Argument: Yasujirō Ozu
Yasujirō Ozu made films about the same thing for forty years — the Japanese family, its dissolution, the grief of parents watching children leave, the quiet devastation of time — and he made them with a formal consistency so extreme that critics spent decades arguing about whether it was a limitation or an achievement, before…
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The Reel Argument: Chris Marker
By Bergotte Chris Marker made films about memory the way a philosopher makes arguments — with total rigour and total freedom simultaneously, following thought wherever it led without the obligation to arrive anywhere comfortable. He is the most intellectually radical filmmaker in the history of the medium and also, paradoxically, one of the most personal,…
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The Reel Argument: Satyajit Ray
By Bergotte Satyajit Ray made his first film in 1955 with borrowed equipment, a cast of non-professional actors, and enough money for perhaps half the shooting he needed, and what he produced was one of the most complete and devastating works of art that cinema has ever seen. Pather Panchali — Song of the Little…
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The Reel Argument: Agnès Varda
By Bergotte Agnès Varda spent sixty years making films about the people and things that the world had decided did not matter, and she did it with a curiosity so genuine and a formal intelligence so complete that the combination amounts to something close to a philosophy of cinema — a sustained argument, made in…
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The Reel Argument: Rainer Werner Fassbinder
By Bergotte Rainer Werner Fassbinder made forty-four films in sixteen years, and then he died at thirty-seven of a drug overdose in a Munich flat in 1982, and the output is so staggering and the life so short that the mathematics alone feel like an argument — an argument that something was burning in this…
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The Reel Argument: Maurice Pialat
By Bergotte Maurice Pialat is the best French filmmaker of the second half of the twentieth century that most people outside France have never seen, and the neglect is one of those quiet scandals that film culture periodically allows to accumulate without anyone taking responsibility for correcting it. He made films about love the way…
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The Reel Argument: John Cassavetes
By Bergotte Before John Cassavetes, American cinema had a settled understanding of what feelings were for: they were the fuel that drove stories toward resolution. After Cassavetes, a different possibility existed — the possibility that feeling itself was the subject, that the camera could be pointed at a human being in the grip of emotion…
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The Reel Argument: Andrei Tarkovsky
By Bergotte Andrei Tarkovsky is the filmmaker most often recommended and least often watched, and the reason for this is a lie — a well-intentioned, widely repeated lie that has done more damage to his reputation than any honest criticism could. The lie is that his films are difficult. They are not difficult. They are…
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The Reel Argument: Carl Theodor Dreyer
By Bergotte There is a filmmaker most people have never seen whose work contains some of the most powerful images in the history of cinema, and his name is Carl Theodor Dreyer. He made fewer than a dozen surviving features across forty years, worked in almost complete opposition to every commercial instinct the film industry…
