ISSN 1717-9559
Keyword Category : European Cinema
Alain Resnais Alan Clarke Alberto Lattuada Alexander Sokurov Alexandre Aja Alfred Hitchcock Alida Valli Andre Bazin Andrei Tarkovsky Asia Argento Augustin Villaronga Austrian Cinema Bela Tarr Bernardo Bertolucci British Cinema Claire Denis Dario Argento Eurofest Eurohorror French Cinema German Cinema German Expressionism Giallo Gianni Di Venanzo Italian Cinema Italian Comedy Italian Horror Jacques Tati Jean Luc Godard Jean Renoir Jorg Buttgereit Karlovy Vary Kurt Kren Lars von trier Lucio Fulci Mara Mattuschka Mario Bava Mario Monicelli Michael Powell Michelangelo Antonioni Mikhail Kalatozov Mikhail Kobakhidze Mother and Son Nacho Cerda Natali Broods Neo Realism Paul Leni Pedro Almodovar Peter Greenaway Peter Kubelka Peter Tscherkassky Polish Cinema Rainer Werner Fassbinder Red Desert Robert Bresson Russian Cinema Sergei Eisenstein Sergio Martino Sicilia! Socialist Realism Spanish Cinema Spanish Horror Thessaloniki Turkish Cinema Valerie Export Werner Herzog Wim Wenders World Film Festival
1.
The second of a two-part 'Bazinian' analysis of cinephilia which explores the 'love of cinema' from the perspective of a philosophical search for truth. What does it mean when one expresses a 'love' of cinema? Can this love be a genuine form of reflection, a valid source of one's human expression?
2.
Author Robert Robertson's sixth Offscreen essay on the audiovisual aspects of Sergei Eisenstein.
3.
The first of a two-part 'Bazinian' analysis of cinephilia which explores the 'love of cinema' from the perspective of a philosophical search for truth. What does it mean when one expresses a 'love' of cinema? Can this love be a genuine form of reflection, a valid source of one's human expression?
4.
An interview with the translator/publisher of the new 2009 translation of André Bazin's _What is Cinema?_.
5.
A review essay of the brand new translation of André Bazin's What is Cinema?.
6.
A festival report combining two festivals, the new English Riviera International Comedy Film Festival, and the 22nd Leeds International Film Festival
7.
A comparative analysis of the German expressionist classic, The Cabinet of Dr. Caligari, and Clive Barker's feature debut, Hellraiser.
9.
A sociological analysis of the British science-fiction film, using Quatermass 2 as a case study.
10.
A review of the much anticipated recent Severin Films DVD release of a difficult to see giallo, Sergio Bergonzelli's In the Folds of the Flesh.
11.
In the second of this two-part essay on Hitchcock as a 'romantic ironist' Menard focuses his attention on the distinctiveness of Hitchcock's form of suspense.
12.
In this first of a two-part essay David George Menard analyzes the narrative methods of plot inversion as exemplified through Hitchcock's plots which pit ideals of romanticism against their potentially subversive thematic and moral counterparts.
13.
A psychoanalytical analysis using Slovenian theorist Slavoj Žižek’s considerations of Lacan of the concepts love and desire in Patrice Chéreau's Gabrielle.
14.
A personal account of encountering the 'difficult' works of Alain Robbe-Grillet, and then the man himself.
15.
An analysis arguing for Le Mepris as one of Godard’s most ‘emotionally’ engaged works.
16.
Author Daniel Garrett takes on a trio of items on the great French filmmaker Jean Renoir, a commentary on his 1939 classic The Rules of the Game, and two books, a collection of interviews and a section of a book detailing Pauline Kael’s appreciation of Renoir.
17.
With the recent release of Inside/A l’interieur France has released yet another impressive horror film, signalling yet another boost in the arm to the genre and French cinema in general.
18.
A review of Eric Guirado's The Grocer's Son that focuses on the social and inter-personal dynamics of a French family and life in a small town in Provence.
19.
A critical look at the past and present of French cinema as reflected through two recent books on French cinema.
20.
An analysis of a handful of recent (and one older) Turkish films within the context of the Turkish film industry and the global marketplace.
21.
A comparative analysis of the American architect Frank Lloyd Wright's theoretical and practical speculations on glass and Soviet director Sergei Eisenstein's proposed first sound film project for Paramount, ??The Glass House??.
22.
An analysis of Freddie Francis' minor masterpiece in psychological and supernatural horror.
23.
An exclusive look at one of the lesser known Hammer films from its peak period, starring Christopher Lee and directed by Hammer stalwart Terence Fisher.
24.
Authors Hans-Bernhard Moeller and George Lellis contextualise the German film Ulzhan as a Western which riffs on the classic American genre but within a contemporary multinational, geo-political landscape.
25.
An introduction to the theme of nostalgia in the films of Sergio Leone.
26.
An essay on the Soviet Science Fiction films which played at the 2007 Fantasia International Film Festival.
29.
An in-depth overview of the Italian crime films of overlooked auteur Fernando di Leo. One of the first essays in English on the director.
30.
A textual analysis of the variant versions of Sergio Martino's excellent giallo, All the Colors of the Dark.
31.
An introduction to the Italian crime film (the poliziotteschi), a mainstay of Italian popular cinema of the 1970s.
32.
Author Jenna Bond examines the homosexual subtext across three seminal Spaghetti westerns.
33.
An historical overview of the guapparia crime filone, which was especially popular in the Southern parts of Italy in the 1970s.
34.
A psychoanalytical analysis of the unique Greek cult film??Singapore Sling??, a postmodern melange of classic film noir tropes, melodrama, gothic horror, Expressionism, and exploitation cinema (extreme gore, explicit sex).
38.
Robert Robertson continues his research into previously untapped intellectual/philosophical strains in the work (film and theory) of Sergei Eisenstein, looking at parallels to the American architect Frank Lloyd Wright.
39.
A tribute to the Hammer great Freddie Francis, cinematographer par excellence and director of countless horror films, including the film given extensive analysis here, The Creeping Flesh.
40.
A thoughtful overview of the 13th rendition of the Bradford International Film Festival, which ran from March 9-24, 2007.
41.
In-depth review of the Fantasia International Film Festival's first DVD release, a compilation of outstanding shorts shown at the festival over the past several years.
42.
In-depth review of the three short film DVDs from Cinema 16, with volumes dedicated to British, American and European cinema. Includes early short films by Ridley Scott, Asif Kapadia, Lynne Ramsey, Christopher Nolan, DA Pennebaker, Tim Burton, Todd Solondz, Jean-Luc Godard, Tom Tykwer, and Lars von Trier.
43.
A comparative analysis between the styles of Robert Bresson and Sergio Leone.
44.
An analysis of Eisenstein's most abstract montage type, 'intellectual montage.'
45.
An industry analysis using Almodovar's Live Flesh and Guy Ritchie's Snatch as case studies of the sort of narrative and stylistic markers used by European cinema to compete with American films in the global market.
46.
Professor Paul Salmon reviews the Criterion Collection release of Powell and Pressburger's influential cinematic opera piece, The Tales of Hoffman.
47.
Author Linda J. Merelle searches for and finds synchronicity among the works of three oddly matched filmmakers: Krzysztof Kieslowski, Luc Besson and Jean-Pierre Melville.
48.
A festival report on the 20th installment of the Leeds International Film Festival.
49.
A report on the 47th Thessaloniki International Film Festival in Greece, with a concentration on the International Competition.
50.
An analysis of how the representation of the modern male plays out in visceral dynamics of Alexandre Aja's The Hills Have Eyes, while also comparing it to Wes Craven's original.
51.
A report on Fantasia Film Festival 2006, discussing issues related to form-content, style for style's sake, and short films featuring man eating cats.
52.
A review essay of Dai Sijie's France-China production of Sijie's own novel, set during China's Cultural Revolution (1966-1976). Author Garrett analyzes (among other elements) how, during one of the darkest periods in China's cultural history, great art (much of it destroyed as part of the 're-education' program) survived through the perseverance of the human spirit.
53.
A review of the final Merchant-Ivory film, The White Countess, “a high-brow romance drama without romantic love.”
54.
A philosophical analysis of Catherine Breillat's controversial Anatomy of Hell.
55.
A review essay of a multi-author reader on one of the greatest of Scottish films, The Wicker Man.
56.
A trans-gendered analysis of Hitchcock's Marnie.
57.
A tribute to the great Italian actresses Alida Valli, who passed away April 22, 2006.
58.
An interview with David Grieco, Italian director of serial killer film Evilenko.
60.
Costa–Gavras returns with an astute black comedy on the corporate mindset.
61.
A psychoanalytical defense of Dario Argento against claims of misogyny.
63.
An analysis of the great montagists Sergei Eisenstein’s interest in synaesthesia and occult traditions.
64.
A review essay of Maddin's most recent docu-short on Roberto Rossellini.
65.
An overview analysis of Spain's enfant terrible, unique auteruist Agustin Villaronga, director of In A Glass Cage, 99.9, and others.
66.
A report on the 46th International Film Festival of Thessaloniki, Greece (TIFF, 18 – 27 November 2005).
67.
An in-depth review essay of the notorious horror film In a Glass Cage, released on DVD by Cult Epics.
68.
An overview of all the best of Canadian, American, and International cinema screened in Montreal during 2005.
69.
A review of Austrian experimental/avant-garde films on a DVD collection produced by Index.
70.
An review essay of the compilation DVD from Index, Sonic Fiction: Synaesthetic Videos from Austria.
71.
An interview with the seminal figure in structural cinema, Peter Kubelka.
72.
An analysis of the recent Index DVD compilation of Austrian experimental director Peter Tscherkassky.
73.
A review of Austrian experimental/avant-garde films on a DVD collection produced by Index.
74.
An inside look at one of the more intriguing film festivals in North America, the Telluride Film Festival.
75.
Report on the 19th Leeds International Film Festival,
76.
An analysis of Werner Herzog's mockumentary Incident at Loch Ness
77.
An in-depth report on the Fantasia International film festival, with a focus on the Thai films, the shorts, and some impressive US films.
78.
A theoretical analysis of the value of Gus Van Sant's Psycho.
79.
Dario Argento lives up to his often noted and inappropriate monicker, The Italian Hitchcock.
80.
A look back at the underappreciated films of Bill Forsyth, with an emphasis on Comfort and Joy.
82.
Psychoanalytical reading of Hawks' Bringing up Baby and Hitchcock's Vertigo
83.
Mondo film, ethnographic film, Mondo Cane, Russ Meyers
84.
First of two part essay on Eisenstein's audiovisual strategies for his sound film Que Viva Mexico! and how his use of music and noise relates to his concept of 'nonindifferent nature'
85.
First of two part essay on Eisenstein's audiovisual strategies for his sound film Que Viva Mexico! and how his use of music and noise relates to his concept of 'nonindifferent nature'
86.
Each of us is human and has value, but we are not equally valuable—our resources (knowledge, skills, talents, and monies), and relationships to others, determine the extent of our value. Sometimes we feel inferior because we are. The work of people such as Plato and Shakespeare is not important because they are Greek or English but because of how they illuminate the human condition, an illumination not limited by language, national borders, or time.
88.
Michael Vesia's report on the debut of Montreal's Italian Film Festival.
89.
A study of two recent art house films (Spring, Summer, Fall, Winter ... and Father and Son) which feature male relationships at their emotional center.
90.
An intriguing look back at the on-set experiences of Jonathan Hourigan.
91.
Fassbinder gets an exhaustive treatment in the recent book by Christian Braad Thomsen, and a likewise turn here by Louis Goyette.
92.
Part-two of Fantasia Festival report.
93.
An in-depth analysis at the social and ideological parameters offered by Lars von Trier's fascinating piece of Brechtian cinema.
94.
A review of the Criterion DVD which suggests Criterion could have done more (or differently) this time around.
97.
A demonstration of the critical value of statistical analysis.
98.
A look back to gauge the current relevancy of this early Bresson reference book.
99.
The future finally looks bright for Bresson DVD enthusiasts. Burnett examines the follow-up Criterion Bresson release.
100.
Bresson's inimitable filmmaking style has its echo in his writing style.
101.
A two-part assessment of the critical discourse surrounding one of cinema's hallowed names, Bresson. Burnett concentrates much of his discussion on the unfortunately polarized views that are continually circulated concerning Bresson's cinematic-philosophical position as “Transcenendalist” or “Materialist”.
102.
Part two of Burnett's critical assessment of the Bressonian theoretical discourse.
103.
Bresson may have been a cinematic iconoclast, but he remains a pivotal figure to the spirit that gave rise to the New Wave.
104.
The future finally looks bright for Bresson DVD enthusiasts. Burnett examines the first Criterion Bresson release.
105.
Pageau revisits Bresson's 'prison' masterpiece after many years to be surprised all over again.
106.
An in-depth review essay of three First Run Feature DVDs that deal with the Nazi, two documentaries, Architecture of Doom and The Eye of Vichy, and the fictional The Murderers Are Among Us.
107.
With Gus Van Sant currently on the hard road back to relevance - the gnomic, impressive achievement that was Gerry (2002) having been so closely followed by his Cannes triumph with Elephant (2003) - the time may be ripe to revisit one of his most eccentric and reviled (and very nearly forgotten) projects, his 1998 near-shot-for-shot remake of Alfred Hitchcock’s Psycho.
108.
Gus Van Sant's re-appropriation of Hitchcock's classic is given another (close) look.
110.
Our man in Italy visits Spain's horror and fantasy festival extravaganza.
111.
Writer Rist concentrates on the Asian offerings at the 27th edition of the WFF.
112.
Offscreen is pleased to announce the recent publication of a book co-written by author Tommaso La Selva and Offscreen’s man-in-Italy, Roberto Curti: Sex and Violence: journey into the cinema of the extreme. Totaro reviews this important Italian contribution to horror film scholarship.
113.
The cinematic image of Baron von Munchausen examined.
114.
Early cinema and the representation of Baron von Munchausen.
115.
Part two of Menard's theoretical explication of classical film theory.
116.
This two-part paper uses Orson Welles The Trial (1963) as a model to explicate Brian Henderson's long take theory. Instead of arguing for or against Henderson's critical standpoint, it uses its classification scheme as a basis for a more thorough understanding of the theoretical gap that exists between the two institutional pillars of cinema, the exclusive theories of Sergei Eisenstein and Andre Bazin.
117.
This essay offers a Deleuzian analysis of the great Russian filmmaker Andrei Tarkovsky's montage theory of time-pressure, foregrounded against the historical backdrop of Eisenstein's montage of attractions.
118.
Part two of Menard's unique 'cine-physics'.
119.
A review of Criterion's wonderful transfer of the Alain Resnais film which helped usher in the 1960s modernist cinema.
120.
The first of a two-part essay on one of cinema's still greatest thinkers and writers.
121.
Part two of Younger's model analysis of the Bazinian discourse.
122.
Younger presents an involved argumentation and defense of Bazin the critic, theorist, and historian par excellence. Far from the often perceived view of Bazin as an inconsistent or politically niave' writer, Younger presents a Bazin relevant and vital for the ages.Part two of Younger's model analysis of the Bazinian discourse.
123.
For most film scholars Bazin was a man of many (incompatible) hats. Bazinian scholar Younger rethinks Bazin the Critic and Bazin the Theorist to argue otherwise.
124.
The second of a two-part essay on one of cinema's still greatest thinkers and writers.
125.
Sometimes it is a fine line between homage and imitation. With the plentiful allusions to George Romero’s classic zombie trilogy (Night of the Living Dead, 1968, Dawn of the Dead, 1979, and Day of the Dead, 1985) the line is perilously treaded in Danny Boyle’s latest pseudo zombie, science-fiction action thriller 28 Days Later.
127.
An interview with Georgian short film expert, diirector Mikhäil Kobakhidzé.
128.
In a first of a two-part essay, Rist looks back at 25 years of attending the Montreal World Film festival.
129.
All of Italy is in mourning after the death of actor-director Alberto Sordi.
130.
A recurring element that struck me during the 2002 Festival International Nouveau Cinéma Nouveaux Medias’ and which I have decided to use as my anchor for this report, is the fragmented narrative, and/or the anthology or omnibus format. Many films at the FCMM were structured using this time honored tradition. Films covered in this report include 11’09’’01, Ten, Gambling, Gods and LSD, Dolls, and Elsewhere.
131.
Boistered by a half-year sabbatical, Peter Rist was a man on a mission, and watched over 250 films on the big screen in 2002. Rist gives us an idea about what makes Montreal one of the best cities in North American for the discerning filmgoer, and how it can be even better.
132.
Iran has Samira Makhmalbaf and a famous father named Mohsen. Italy has Asia Argento and a famous father named Dario. The parallels pretty much stop there.
133.
Iranian cinema once again leads the way at the Montreal World Film Festival.
134.
Splashy, wild, sexy, and stylish describes the world of the Italian fumetti ('black' adult comic books). But what happens to the fumetti when translated to the screen? A distant cousin to the giallo ('yellow' serial thrillers), the fumetti neri have been mainstays of Italian pop culture since their inception in the early 1960's. Curti traces their lineage from comic strip to movie screen.
135.
The long wait for Tarkovskians is finally over. Stalker (Andrei Tarkovsky) is out on DVD!
136.
Perhaps not the best giallo ever made, but an interesting entry into the female paranoia film.
137.
Totaro explores how certain styles of filmmaking (montage vs. long take style) may be used to activate different cognitive states ('intellect' versus 'emotion').
138.
Randolph uses Clive Barker's The Forbidden to explore how the Faustian myth of immortality persists in contemporary attempts at reproduction and regeneration through the intersections of art and science, art and nature, and music and film.
139.
A long overdue look at Zulueta's lost cult classic, Arrebato.
140.
A review which tries to capture the unique experience which is Béla Tarr’s Sátántangó.
141.
A report on the fourth edition (2002) of one of the fastest growing Asian film festivals around.
142.
Offscreen welcomes Italian freelance writer Roberto Curti as he analyzes the work of lesser known Italian cineaste Cavallone.
143.
An in-depth analysis of an overlooked silent film classic by Russian emigré Dimitri Kirsanov.
144.
The Road Movie meets pure movement in the form of Henri Bergson. Part 1.
145.
The Road Movie meets pure movement in the form of Henri Bergson. Part 2.
146.
Should feminist scholarship be looking beyond American horror for a more varied representation of female desire and sexuality?
147.
An analysis of the year that was. An improvement over 2000, according to Rist.
148.
Part two of Randolph Jordan's coverage of Montreal's FCMM Festival International Nouveau Cinéma et Nouveaux Médias.
149.
Offscreen presents an interview with Italian cinematographer Guiseppe Lanci, who has worked with such greats Andrei Tarkovsky, Nanni Moretti, and Marco Bellochio.
150.
Offscreen presents an interview with Italian cinematographer Guiseppe Lanci, who has worked with such greats Andrei Tarkovsky, Nanni Moretti, and Marco Bellochio. (Italian version).
151.
Throughout, Tati contrasts the cold colors and industrial sounds of the Arpel’s and the Plastac factory to the warm, earth tone colors, traditional French music, and human sounds of the old quarter. Tati may prefer this idealized vision of the past, but he remains the realist.
152.
The most gratifying aspect of Criterion's new digital transfer of Mario Monicelli's classic comedy caper film I Soliti Ignoti (Big Deal on Madonna Street) is the fuller appreciation of the stunning black and white cinematography by Gianni Di Venanzo.
153.
Part two of David Neo's subtle analysis of Fractal memory images in Sokoruv's Mother and Son.
154.
Gilles Deleuze Meets the Mandelbrot set in this theoretical exploration of the memory images in Sokoruv's modern day Kammerspiel classic Mother and Son.
155.
Red Desert is the final film of Antonioni's Alienation Tetralogy, and one of the best films to depict the complex notion of neurosis and social illness.
156.
Offscreen presents this probing interview with the Brothers Quay, conducted in Trieste, Italy.
157.
Image Entertainment presents for the first time in North America, the uncut, English dub version of Mario Bava's gothic masterpiece, The Mask of Satan (re-titled Black Sunday by AIP for its US release in 1961).
158.
The definitive interview on one of Montreal's most notorious independent feature films, Subconscious Cruelty. Enough said.
159.
An in-depth festival report on the fifth installment of the Fantasia Film Festival (2000).
160.
One of the most influential and important horror magazines, Fangoria horror magazine, selects Spanish director Nacho Cerda as one of the 13 rising Horror stars to keep on eye on.
161.
The Montreal-based Tana discusses these films and his experiences as an Italian-Canadian filmmaker.
162.
A look back to Fantasia 1999 and a look forward to Fantasia 2000.
164.
The 28th International Festival of New Cinema and New Media set the marker posts on the route to the future. This one festival comprises two very separate events that –for the moment– have little to do with each other.
165.
My curiosity about a film entitled Burn, Witch, Burn has been peaked since the day I purchased an original one-sheet of the film in the mid-1970's. With the film still unavailable on video, I had written off the likelihood of every seeing the film.
166.
For its annual benefit screening, La Cinémathèque Québécoise offered a restored 35-mm print of Paul Leni's searing expressionistic historical drama, The Man Who Laughs.
167.
The continual blur of Montreal Film festivals does not allow the seasoned filmgoer much chance to breathe, let alone contemplate each individual festival within the city’s cinematic global whole.
168.
The distinguished Italian director Mario Monicelli was in Montreal to serve as Jury Member at the 1999 Montreal World Film Festival. I spoke to Mr. Monicelli about Italian comedy in general and, more specifically, one of the first films to gain both critical and popular success and help cement the Italian comedy film's international reputation, I Soliti Ignoti (Big Deal on Madonna Street), 1958.
169.
At the last year's 33rd edition of the Karlovy Vary International Film Festival, the main prize, the Crystal Cube, went to the Canadian filmmaker Charles Binamé for his film Streetheart.
170.
Sergei Eisenstein has always been the pride of the Soviet cinema, but it was not until after perestroika, and especially after the collapse of Communism, that Russian theoreticians began to freely explore the national-psychological roots, cultural
171.
As part of their April-May program la Cinémathèque québécoise featured a mini-retrospective of one of Italy's oldest living directors, Alberto Lattuada (born, 1914).
173.
Lech Majewski, writer/director of The Roes' Room, calls his film an “autobiographical film opera”. A writer and director of opera as well as of film, Majewski composed the music and libretto that provide the text of the film.
174.
The latest incarnation of the Festival of New Cinema and New Media (FCMM) runs from October 15 to 25 and seems to be another attempt at redefining itself.
175.
For the second year in a row, Le Festival des Films du Monde is putting the spotlight on a country in which the cinema is at the heart and soul of its nation's culture.
176.
Montreal's Fantasia Film Festival returns for its third successful year, presenting challenging Asian and International films. Read here for in-depth converage of Montreal's most popular (populist?) film fest.
177.
I have left for last the most powerful alienating effect on nature, Sokurov's use of special distorting lenses and mirrors that give the image an oblique, quivering feel. It is a unique form of distortion, one that has had many viewers baffled.
178.
Following up on Part 1 by looking at the effects of May 1968 on filmmakers outside of France, concentrating on Michelangelo Antonioni.
179.
May 1998 marks the 30th anniversary of the student riots and subsequent strikes that took hold of France from mid-May to June 5, 1968. The disturbances and events that led to the uprising are well chronicled.
180.
Bernardo Bertolucci's The Spider's Stratagem is a wonderfully audacious treatment of the paradoxes of history, truth, and temporality.
181.
“I have selected fifty films that are my choices for the best films to have competed at Cannes.”
182.
« A quietly dark, sinister reworking of The Island of Dr. Moreau and various children's tales (Tom Thumb, Jack the Giant Killer)»
183.
Germany has a rich tradition of serial killer films, going back to Fritz Lang's classic M (1931), but not much will prepare you for serial killer condoms!
184.
For the uninitiated (which included me) Eurofest is a one-day smorgasbord of European horror and sleaze that has included over its four-year life-span zombie mayhem, giallo madness and action-adventure.
185.
The affable, soft-spoken Nacho Cerda is perhaps not what you'd expect from the director of one of Fant-Asia's most notorious films, Aftermath. But perhaps after reading this interview with Cerda you may feel that there is certainly more than meets the ...
186.
The inimitable Richard Stanley's films thus far include the cyper-punk cult science-fiction film Hardware (1990), the poetic experimental documentary on the Russian invasion of Afghanistan, Voices of the Moon (1991) and the oneiric horror film...
187.
Both the Canadian Kissed and Spanish Aftermath deal with the taboo subject of necrophilia. However, the respective filmmakers Lynne Stopkewich and Nacho Cerdà are as far apart in approach as there native countries are geographically.
188.
With a healthy majority of Fant-Asia's International section devoted to Italian horror I thought it would be appropriate to get things rolling with some thoughts on Italian style horror.
189.
During the Hollywood Studio period (roughly 1920 to 1950), the demarcation line between the majors and the independents was quite clear. The majors, the “Big Five” (Warners, MGM, RKO, Paramount, Fox) and “Little Three” (Columbia, Universal, United).
190.
Lucio Fulci's archetypical Italian zombie epic The Beyond plays at Fantasia in a pristine 35mm print.
191.
After ten plus days of hectic film/video and moving image viewing, the FCMM is over, leaving a year void to be filled in by other film festivals. The point, however, is that none of the other festivals are going to be anything like this one.
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