"Brando and Kazan. If there is some pearly gates studio, many of the films being shown at the Angelic Cinematheques will have these heavyweights working together. Urban poetry, raw and unrestrained masculinity, a heightened method of “real” acting. The kind of picture that really pulls you in, forces all the senses to work in tandem. Hypnotic and earthy, the real stuff of cinema, electrolysis of the rough and the holy."

"I’m cheating again by listing two movies together, but the contrast is too good not to mention. I’m a big admirer of the Powell and Pressburger films, and these two would have to be my favorites. Actually, I’d easily list Black Narcissus as my favorite. But The Red Shoes is so celebrated (by comparison) that I want fans of that film to experience the unique vertigo of Black Narcissus."

"I’m cheating again by listing two movies together, but the contrast is too good not to mention. I’m a big admirer of the Powell and Pressburger films, and these two would have to be my favorites. Actually, I’d easily list Black Narcissus as my favorite. But The Red Shoes is so celebrated (by comparison) that I want fans of that film to experience the unique vertigo of Black Narcissus."

"Oh God, I love this lot. They're very different to The Wilsons or The Watersons, who are robust, full-voiced and loud, in that they're very gentle. Frank's got this ethereal quiver, Phil this lyrical tone, Joey this bass that grounds the music, and binds everything together. This is the perfect combination of voices to me, so uplifting, joyous and emotional, while making it feel so seamless and effortless.
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"The first novel I read that held together on a regular plane as well as thematic one - as story as well as a symbolic journey. There could be others that work like Jude, but something about this book - the way the author is dealing with ideas like evolution along with the collapse of class culture - made it feel like a precursor to modernism. Like the birth of modernism."

"It is easy to see how this previously banned surrealist/Dadaist masterpiece influenced so many filmmakers to come. Jean Vigo’s use of physical comedy and the slightly provocative nature of the film’s subject matter work together to create a generally outré atmosphere that at times borders on the chaotic. It makes for a mesmerizing watch. Without Zéro de conduite, it’s hard to imagine a 400 Blows or If…."