Sentences with phrase «regarded as an auteur»

Not exact matches

She regards the aforementioned Ruiz — with whom she recently introduced their fourth collaboration, the Balzac adaptation «Nucingen Haus,» at the London Film Festival — as a close mentor, and is quick to compile a list of auteurs she has long desired to working with, including Steven Soderbergh, Danny Boyle and Mike Leigh.

The movie is credited to two directors, Wanda Tuchock and George Nichols Jr., but film scholar Jeremy Arnold believes Tuchock, who also wrote the screenplay, should be regarded as the film's sole auteur: «This one has Wanda's fingerprints all over it.»

I'm not the only one who regards it as Lewton's greatest film, and I assume the main reason for its neglect is auteurist thinking — only directors are seen as auteurs — and the absence of stars.

Although the author himself modestly calls it a «rather incomplete survey,» it is in fact packed with insights about auteurs as varied (and in some cases unheralded) as Jacques Becker, André Cayatte, Julien Duvivier, and Max Ophuls, while saving special regard for the «two most original and therefore unclassifiable talents of postwar French cinema,» Jacques Tati and Robert Bresson.

David Lynch's Mulholland Drive contends that the answer to the eternal struggle between what is real and what is fantasy comes in the form of a Keatsian confusion — it's the difference between Adam's dream and Eve rendered flesh, blurred in the mind of the creator and his audience.A film is a dream of the director made tangible, a conceit familiar from the fourth wall - breaking in Ingmar Bergman's Persona (banishing any mystery there might have been regarding the visual references to that film in Lynch's piece), and a movie's characters therefore become projections of its maker's sublimated longing (clarifying too the auteur's use of wardrobe and colour schemes from Hitchcock's meditation on objectification, Vertigo, as well as those of his first collaboration with inamorata Tippi Hedren, The Birds).

Resnais is also given a nice showcase via a lengthy, vintage Q&A session from 1961, where the camera stays on the director, and Resnais answers queries regarding his disuse of the possessive credit («A Film By»), views on the Auteur theory, his rather humbling self - classification as a working editor, and his reply on the ever popular question by cinema tightwads, «Is Cinema dead?»

As usual, many of the predicted auteur films which didn't make Fremaux's final cut for the main competition or Un Certain Regard could be fair game to turn up here, although many a notable name has been known to hold off for a higher berth premiere out of Venice.