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I can report that it enraptured and delighted, and most importantly, made quiet, the houseful of little kids and their nannies with which I watched…

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We need more directors willing to take risks with films like Get Out.

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"The Ballad of Narayama" is a Japanese film of great beauty and elegant artifice, telling a story of startling cruelty. What a space it opens…

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Faces in the crowd: Here's looking at you, Nashville

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For some reason I have the notion that the guy with the camera, getting the low-angle shots of Barbara Jean (Ronee Blakley) against that American flag that stretches across the Parthenon from sea to shining sea, is the cinematographer Paul Lohmann. Is that right?

I didn't know it at the time, but 35 years ago the course of my life was set into motion. It began, no doubt, the previous summer with Roman Polanski's "Chinatown," followed the next June by Robert Altman's "Nashville." If those two movies -- seen at the impressionable ages of 16 and 17 -- don't thoroughly transform your world, then I don't know what would. I'd always loved the arts, but from that moment on I knew for certain that movies were the art form of the century -- my century -- because never before could such vibrant, kinetic masterpieces have been born. They made me feel fortunate to have come into the world just at the moment in human history when, at long last, such miracles became possible.

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