Oeuvre is an in-depth examination of the entire body of work of an important director.
I Vitelloni is nothing if not a bona fide neorealist classic.
The White Sheik, charming but superficial, offers a menu of these themes and tropes that would become the building blocks of Fellini's decades-long oeuvre.
Legendary director Federico Fellini's directorial debut, while an ostensibly realistic rendering of a traveling performance troupe struggling to get by during the lean post-war years, already signals an eye drawn toward the fantastic.
Cronenberg has made a career of brilliantly and unapologetically exploring darkness and disaffection with what feels like an unblinking gaze.
As much thought experiment as narrative film, it uses its minimalist story of a rich man’s slow limo ride across a traffic-jammed city as the barest possible foundation upon which to build an extended series of philosophical debates and armchair psychiatrist self-diagnosis around the protagonist’s various levels of isolation.
A deep look into the exquisite body of work of a deeply influential director.
The staid format of a historical costume drama makes the perfect space for some of Cronenberg’s most subversive, penetrating and darkly comic work to date.
The film remains at once one of the finest gangster pictures of the new millennium and one of the more unsettling entries in Cronenberg’s CV.
As a nation, we cannot outrun the violence on which America was founded. It is inherent in our pop culture and our history books. With A History of Violence, David Cronenberg dares us to examine why we enjoy blood and gore so much.
Empathy for its addled protagonist makes Spider feel like a labor of love, an odd classification for a film steeped in such an unremitting pall of darkness