The Art of James Cameron illuminates a remarkable creative path by bringing together a wealth of carefully curated material from the filmmaker’s personal archive, including his earliest sketches, designs from unrealized film projects, and conceptual pieces that would form the bedrock of his acclaimed later work. Alongside drawings and paintings, the more than three-hundred original items featured in the exhibit include props, costumes, photographs, and 3D technologies made or adapted by Cameron himself, a noted technical innovator across multiple disciplines…

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When Anthony Mann died on April 29, 1967, struck down at the age of 60 by a heart attack during the filming of his 40th feature film, A Dandy in Aspic, between London and Berlin, one envisions this energetic, intense man falling like the uncompromising and doomed Indian portrayed by Robert Taylor at the end of Devil's Doorway: upright and solid. Certainly, Mann would have had a film project if he had lived: a return to the western – "the…

When James Cameron unleashed his first feature film, The Terminator, in 1984, it announced the arrival of a unique talent who would disrupt the cinematic status quo for years to come. In the decades that followed, the methodical, exacting filmmaker would direct a series of blockbusters that not only dominated the box office but also weaved their way deep into the fabric of our pop culture. Although these films would each be renowned for bleeding edge visual effects that pushed beyond…

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The cinematic work of Richard Fleischer does it not pose a puzzle for French cinephilia, nurtured, or even overfed, by what is called the auteur theory? For in a body of work that includes many commissioned films, some failures, and circumstantial films, one would search in vain for a unity constructed through the recurrence of motifs or themes, the affirmation of a worldview expressed over time, or the permanence of an immediately recognizable style. In his text for the Cinémathèque…

The cinema of David Lean reconciles auteurist demands, intimacy, and grand popular spectacle. It is not the only paradox of a body of work marked by deep tensions. In Doctor Zhivago (1965), after reading the poem written by Yuri, Lara reacts: "It's not me, Yuri." He insists, she persists: "No, it's you." The portrayal of women as a detour to self-revelation has been the cunning strategy throughout David Lean's cinema, from Brief Encounter (1945) to the final scene of A…

In eight films, Sofia Coppola has established herself as an award-winning filmmaker (Oscars, Cannes, Venice) with an instantly recognizable universe: feminine, ethereal, melancholic, and haunted by youth. In her works, surface is depth, coolness is a wound, and girls and women are in search of emancipation, the dead flower with a rifle.

In the recent documentary "Laika Cinema" (2023), we discover Aki Kaurismäki's dream of opening a movie theater in an abandoned factory in the countryside, a dream that he pursued and realized. In Karkkila, the "club of idlers" (a gang of kind unemployed resignees) would meet factory workers at the "La Moderne" bar next door, in a post-punk Wurlitzer atmosphere. This setting echoes scenes from Kaurismäki's films (the neon sign is recycled from the sets of Le Havre and the counter…