Whereas Sternberg’s need to make his settings emphatically real on the surface level obstructs a genuine feeling of reality, Dietrich’s characters are so fictitiously composed that even the slightest breach feels like penetrating into the core of human emotion.
This year's Double Exposure poll was the most diverse we ever had. Save three, each contributor had a different vote for the best film of 2015. Below are the tabulated results as well as some thoughts from our contributors on their top film.
These men haven’t just met the devil, they have become the devil, and they're here to tell you so until you’ve become absolutely sick of it.
It’s like gawking at Whistler’s Mother in the Mussée D’Orsay while Whistler himself stands over your shoulder and talks to you about it.
For Rohmer, himself a cinephile of the most avid variety, summer is not a time of planned activity so much as planned inactivity that, in turn, allows for only the most passive of vacations.
The experience itself was a history of film condensed into an hour and half; at first people laughed with each newly added telephone ring and footstep, but after the amusement of this novelty wore off, we had progressed all the way from 1894 to 2014.