Film

Writings:

A Decade with Lisandro Alonso

Seeing Mise-en-scène: Defining the Form – Open or Closed?

Tsai Ming-Liang, a Director of Consistency

Vengeance Is Mine: Imamura as Observer

John Cassavetes and the Role of the Author

Dario Argento’s Twisted Logic

The Climax of North by Northwest

Ingmar Bergman and European Cinema

Film Noir Conventions in The Big Sleep

Andrei Tarkovsky’s Science Fiction

Reviews:

Un lac (Philippe Grandrieux, 2008)

The Territory (Raoul Ruiz, 1981)

Nárcisz és Psyché (Gábor Bódy, 1980)

Heroic Purgatory (Yoshishige Yoshida, 1970)

Antichrist (Lars von Trier, 2009)

The White Ribbon (Michael Haneke, 2009)

Bright Star (Jane Campion, 2009)

Invasión (Hugo Santiago, 1969)

Smooth Talk (Joyce Chopra, 1985)

Landscape in the Mist (Theodoros Angelopoulos, 1988)

Let the Right One In (Tomas Alfredson, 2008)

My Friend Ivan Lapshin (Aleksei German, 1984)

Snow Angels (David Gordon Green, 2007)

The Scent of Green Papaya (Anh Hung Tran, 1993)

The Hour-Glass Sanatorium (Wojciech Has, 1973)

Suzhou River (Ye Lou, 2000)

The Kingdom (Lars von Trier, 1994-1997)

Muriel, or the Time of Return (Alain Resnais, 1963)

Black Moon (Louis Malle, 1975)

3 Women (Robert Altman, 1977)

Exotica (Atom Egoyan, 1994)

The Wayward Cloud (Ming-liang Tsai, 2005)

The Book of Life (Hal Hartley, 1998)

Morning Patrol (Nikos Nikolaidis, 1987)

Inside (Alexandre Bustillo, Julien Maury, 2007)

200 Motels (Tony Palmer, 1971)

The Third Generation (Rainer Werner Fassbinder, 1979)

Salon Kitty (Tinto Brass, 1976)

La Luna (Bernardo Bertolucci, 1979)

Amarcord (Federico Fellini, 1973)

La Dolce Vita (Federico Fellini, 1960)

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