An interview with Michael Koresky, author of Films of Endearment: A Mother, a Son and the 80s Films That Defined Us.
An extensive look at titles playing the 19th Annual Chicago European Union Film Festival, which is running at the Chicago's Gene Siskel Center from March 4 - 31.
An excerpt from Michael Koresky's new book about the great filmmaker Terence Davies, the Marcel Proust of Liverpool.
"The Terence Davies Trilogy" is a work of such profound sadness and despair that watching it has to result in either obliteration or catharsis (unless it provokes a walk-out). Six years in the making, the three black-and-white shorts took their time oozing from Davies' personal experience and one can see the growing assurance of their director's hand. "Children" (1976) try out things in a tentative way, "Madonna and Child" (1980) solidify them into a steady mode of expression and "Death and Transfiguration" (1983) present a mature, stunningly poetic cinematic voice. Now that the three movies are only shown spliced together (and became available on a Region 2 DVD released by British Film Institute), one can see the emergence of Davies' techniques and savor what remains his most direct and devastating work to date.
Some tricky music rights issues finally got resolved, and so Jerzy Skolimowski's "Deep End" is back on the map, and with a recent run at Brooklyn's BAMcinématek under its belt to prove it. A legendary specter for years - lusted after but near-impossible to track down and watch - it now arrives as part of the adventurous BFI Flipside series in a lush DVD/Blu-ray edition that will have you gasping equally at Jane Asher's copper-red coiffure and John Moulder-Brown's baby blue eyes (the latter firmly fixed on the former throughout the movie).