The Case for Global Film

The Case for Global Film

Films from everywhere and every era
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Monthly Archives: February, 2022

  • Parallel Mothers (Madres paralelas, Spain 2021) February 28, 2022
  • Asako I & II (Netemo sametemo, Japan-France 2018) February 23, 2022
  • John Ford #8: Sergeant Rutledge (US 1960) February 21, 2022
  • ‘The Three Godfathers’ – novel and film February 21, 2022
  • John Ford #9: When Willie Comes Marching Home (US 1950) February 20, 2022
  • Never Gonna Snow Again (Sniegu juz nigdy nie bedzie, Poland-Germany 2020) February 16, 2022
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  • Road House (US 1948)
  • Pleasure (Sweden-Netherlands-France 2021)
  • The Hard Way (US 1943)
  • The Drover’s Wife: The Legend of Molly Johnson (Australia 2021)
  • Beware, My Lovely (US 1952)
  • Gaza City gets a cinema?

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Recent Comments

  • Roy Stafford on Road House (US 1948)
  • keith1942 on Road House (US 1948)
  • Roy Stafford on Pleasure (Sweden-Netherlands-France 2021)
  • John Hall on Pleasure (Sweden-Netherlands-France 2021)
  • keith1942 on Gaza City gets a cinema?
  • keith1942 on Lullaby (Chanson douce, France 2019)

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  • Kore-eda Hirokazu
  • Liverpool films, Liverpool stories
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  • Our reviews
  • Rossellini and Neo-realism
  • Specialised Cinemas in the UK
  • The Ida Lupino Project
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#GFF19 #GFF20 35mm art cinema Arthouse Berlinale BIFF 2012 BIFF 2013 BIFF 2014 biopic Black British film Bradford International Film Festival coming of age crime fiction crime film crime melodrama crime thriller Ealing Studios family drama family melodrama fantasy Film Noir Films From the South GFF18 home front drama Hyde Park Picture House Ken Loach Leeds International Film Festival long-form narrative migration My French Film Festival neo-realism Nouvelle vague polar police procedural political cinema political thriller psychological thriller Realism road movie satire science fiction Second World War social melodrama social realism thriller war film war movie youth picture ¡Viva!

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Film and Media Education since 1990

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  • Suspicion (US 1941) – Studying a Classical Hollywood film and its production context
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  • L'amant (The Lover, France-UK 1992)
  • An Introduction to Pan’s Labyrinth (El laberinto del fauno Spain-Mexico-USA, 2006)
  • Water Lilies (Naissance des pieuvres, France 2007)
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Contributors

  • des1967
    • Cerca de tu casa (Near Your Doorstep, Spain 2012)
    • My Life as a Courgette (Ma vie de Courgette, France-Switzerland 2016)
    • The Bureau (Le bureau des légendes, France 2015 – )
    • The Last Five Years (US 2014)
    • ’71 (UK 2014)
  • keith1942
    • The Magnificent Ambersons (US 1942)
    • ‘The Three Godfathers’ – novel and film
    • BAFTAS 2022
    • ‘Bloody Sunday’: fifty years on …
    • Charles Laughton A Filmography, 1928 – 1962
  • Rona
    • Some Reflections on Agnès Varda and Visages, villages (Faces, places, France 2017)
    • Deutschland, bleiche Mutter (Germany, Pale Mother, West Germany 1980)
    • Dark River (UK 2017)
    • Chantal Akerman: No Home Movie (Belgium-France 2015)
    • Further thoughts on Phoenix (Germany 2014)
  • nicklacey
    • The Day After I’m Gone (Israel-France 2019)
    • Da 5 Bloods (US 2020)
    • Redoutable (Le Redoutable, France-Myanmar 2017)
    • CIFF20 #5: Kuessipan (Canada 2019)
    • CIFF20 #4: Rounds (V krŭg, Bulgaria-Serbia 2019)
  • Roy Stafford
    • Road House (US 1948)
    • Pleasure (Sweden-Netherlands-France 2021)
    • The Hard Way (US 1943)
    • The Drover’s Wife: The Legend of Molly Johnson (Australia 2021)
    • Beware, My Lovely (US 1952)

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