As we near the annual unveiling, we reviewed the first eighty-eight years of Oscar and selected the ten Best Pictures, and the first Foreign- Language award winner, films that will endure along side what comes next.
Formed as part of a “guerilla television” movement, the filmmaking collective Top Value Television, or TVTV, were unruly instigators who used the Porta-pak to wreak havoc in institutions that expect a reserved decorum - not unlike the Ghostbusters themselves.
Real craftsmanship doesn’t age and nowhere is this truer than in the films of Buster Keaton, where every pratfall is a marvel of precision engineering made to endure for generations. So bring the family along, and watch built-to-last Buster go through the works without a scratch—or a smile.
Assayas’s unofficial “international” trilogy tracks the frictionless movement of bodies and capital (currency, culture, sex) across continents, through a sinister landscape of hotel rooms and business parks that are everywhere the same.
agnès b. needs no introduction as a fashion designer, film producer, champion of artistically ambitious cinema, or super-cinephile—that is, the perfect candidate to take over programming duties at Metrograph.
This program contemplates the ever-encroaching future moment when artificial superintelligence will overtake human intelligence—known as the coming Singularity—with films spanning ninety years of moving image history.
We’ve come to expect excellence from Kelly Reichardt, so the quiet mastery of last year’s Certain Women should have come as no surprise—but really, how does she do it? The formula probably isn’t something that you can write down, but Reichardt has graciously agreed to come by Metrograph with a couple of her best, and talk of how they came to be.
The rule for ‘Welcome to Metrograph’ title selection was no repeats of any director, which was all well and good until we got to John Ford, who cranked out stone-cold masterpieces like it was going out of style.
After being exiled from his native Spain, a foray to Hollywood and New York, and proving himself within the confines of the Mexican film industry, cinema’s arch-dissident, Luis Buñuel, at last found full creative freedom in the country where he had had his first succès de scandale 35 years earlier: France.
In this visionary decade, Universal fostered young upstarts like George Lucas and Steven Spielberg, imported Miloš Forman for his U.S. debut, and gave a free hand to old pros like Hitchcock and Don Siegel (and his understudy Clint Eastwood).