Ingmar Bergman: Three Strange Loves

It is fair to state that Bergman’s career defining films came in the mid-1950’s with Smiles of a Summer Night in 1955, and both The Seventh Seal and Wild Strawberry’s in 1957. Before this point there were a few other notable films of his in the early 50’s Sawdust and Tinsel in 1953 for example, but before this point his work is far less known.

Overlooked Gems: Capricorn One

American Director Peter Hyams has a fairly ghastly track record, after being given the unenviable task of directing 2010, the follow-up to Stanley Kubrick’s 2001: A Space Odyssey, he went on to make uninspired and sometimes downright awful Actioners like Timecop in 1994, Sudden Death in 1995, The Relic in 1997, End of Days in 1999, and The Musketeer in 2001. Other lesser known works in between have never made a massive splash in the box office or in critical circles.

Contemporary Obscurity: Katalin Varga

With 30,000 Euros, great skill, artistry, and an indomitable spirit; British director Peter Strickland embarked on a four-year journey to Romania and Hungary to create his feature film debut. Fighting against a constant shortage of finance, as well as the language and cultural barrier, he eventually succeeded in creating his film Kalalin Varga, which debuted at the Berlin Film Festival in February 2009 where it was awarded the Silver Bear.

Analysis: Politics of the Jack Ryan Movies

Tom Clancy is one of the most high-profile literary figures in the US, an author that most people are familiar with regardless of whether or not they may actually have read one of his best-selling novels. Noted for the exhaustive breadth of his books’ technical prowess and militaristic know-how, he is to the political thriller what John Grisham is to the courtroom drama; they both deal in gripping stories of dramatic and sensational content but rarely tip the balance into ludicrous extremes.

Krzysztof Kieslowski: No End

Often the topic of genre is neglected in relation to the works of Poland’s greatest director, probably because the majority of Kieslowski’s films are difficult to categorise. From his first feature film The Scar to his last Three Colours Red, there is no one film that fits any particular genre except the broader categorisation of these films as “dramas” which is unhelpful in such matters as that term includes the widest range of films possible.

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