Author Archives: dcpfilm

About dcpfilm

Shooting, teaching, writing and watching the Phillies.

Ana and the Wolves (Saura, 1973)

I’ll write on a few more Carlos Saura films over the coming weeks. Ana and the Wolves is another Geraldine Chaplin collaboration. Here she plays the eponymous Ana, a young woman who arrives at an isolated Spanish estate to care for … Continue reading

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Blindfolded Eyes (Saura, 1978) and Sweetie (Campion, 1989)

Carlos Saura’s Cria Cuervos is one of my favorite films. I’ve been looking for Blindfolded Eyes and Elisa, My Life for awhile. Blindfolded Eyes (Los Ojos Vendados) is one in his run of films with the underrated Geraldine Chaplin. Here she plays Emilia, an aspiring … Continue reading

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La vie nouvelle (Grandrieux, 2002)

For some reason when I started watching La vie nouvelle I thought I was watching a Philippe Garrel film and kept thinking how odd it was that it reminded me so much of Sombre. Of course I realized soon enough that the … Continue reading

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Equinox Flower (Ozu, 1958)

Equinox Flower is Yasujirô Ozu’s first color film, and also the first of his that I’ve seen in several years. It’s as meticulous and touching as you might expect. There are his trademark “pillow shots” that transition from scene to scene (these … Continue reading

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Something Different (Chytilová, 1963) and The Truth (Clouzot, 1960)

I think Something Different is the best Chytilová film I’ve seen. The performances in this film are staggering. Is the film part documentary? It sometimes seems so, but it’s really just a testament to how great the turns by Eva Bosáková (as Eva) and Vera … Continue reading

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Panelstory (Chytilová, 1980) and Les espions (Clouzot, 1957)

Panelstory is more High-Rise than High-Rise was. Vera Chytilová’s 1980 bizarre feature (can you say that about all of her films? It’s not an insult…) feels somehow closer to Ballard’s source material than the recent adaptation of that same book. Chytilová’s film is frenetic, … Continue reading

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Vlci Bouda (Chytilová, 1987) and La Prisonnière (Clouzot, 1968)

For no real reason other than I love their movies, I’ll do a series of posts on both Vera Chytilová and Henri-Georges Clouzot films. How can one movie feel like the logical aftermath of A Report on the Party and Guests, indebted … Continue reading

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