Bronco Bullfrog (Barney Platts-Mills, 1970)

Bike1Bike2Bike3Bike4Bike5Bike6Few moments in film really capture the sweetness of a freedom at once lyrical, liberating, limiting yet, ultimately, inevitably, lost.


Setsuko Hara – Late Spring (Yasujiro Ozu, 1949)

Whereas elsewhere crescendos will always threaten from somewhere beyond the frame here the space between simple gestures offers alternative volumes.

Fred Astaire versus Jason Statham – The Transporter (Cory Yuen, 2002)

Despite the changing frames and the patterns they contain traditions of power, poise and captured grace remain constant and engaging.

Fred Astaire

Feet 2
Feet 2

Feet 3
Feet 5

The Case of the Bloody Iris/Perché quelle strane gocce di sangue sul corpo di Jennifer? (Guiliano Carnimeo, 1972)

The eloquence of this striking sequence is found in the mannered interplay between visual extremity, directed expression and studied response.Iris 1Iris 2Iris 3Iris 4Iris 5Iris 6Iris 7Iris 8

Jason Statham – The Transporter (Cory Yuen, 2002) – First Section

Width and angle here provide the ideal opportunity to acknowledge the film’s old-fashioned fascination with outline, cut and choreography.

Transporter 1Transporter 2Transporter 3transporter 5

Edwige Fenech, Anita Strindberg & Luigi Pistilli – Il tuo vizio è una stanza chiusa e solo io ne ho la chiave/Your Vice Is a Locked Room and Only I Have the Key (Sergio Martino, 1972)

Vice - Ekberg 2 A seemingly obvious arc from disillusionment to death becomes suitably complicated by a mannered insistence on direction, expression and viewpoint. 

Vice - Ekberg

Around the World in 80 (plus) Blogs

Harry Tuttle at Screenville is collating links to film blogs from all around the world. 

Help him out? More here …