Smashbomb

"In My Voyage to Italy, the documentary that we made about Italian cinema, we started with this picture. For me, it really was the beginning. I saw it for the first time on television with my grandparents, and their overwhelming reaction to what had happened to their homeland since they left at the turn of the century was just as present and vivid for me as the images and the characters. I was experiencing the power of cinema itself, in this case made far beyond Hollywood, under extremely tough conditions and with inferior equipment. And I was also seeing that cinema wasn’t just about the movie itself but the relationship between the movie and its audience. Fellini said that when Rossellini was filming the Po Valley sequence, he acted on pure instinct, inventing freely as he went along. The result—in that episode, and in the Sicilian and Neapolitan and Florentine episodes as well—is still startling: it’s like seeing reality itself unfolding before your eyes."

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ReFocus: The Films of Preston Sturges

Jeff Jaeckle and Sarah Kozloff

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How can it be that more people aren't talking about, studying and revering Preston Sturges, the...

Ali Abbasi recommended Mulholland Drive (2001) in Movies (curated)

Mulholland Drive (2001)

2001 | Documentary, Drama, Mystery

8.3

(15 Ratings)

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"I was completely unprepared when I saw Mulholland Dr. in a small art-house cinema in Stockholm, and it blew my mind. I came out of the movie and just felt like I needed to talk to people and ask questions, like, did you see what I saw? It was huge for me, and it almost felt like, you can’t mess with people like this and get away with it, somebody should do something about it. Usually when American cinema tries to be surreal or nonlinear or non-narrative, it turns either really pretentious or really Hollywood. But David Lynch, in this film but also in general, is probably the only person I know who has succeeded in making his own version of American surrealism."

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