The Rear-View Mirror: Akira Kurosawa (1910)

Each Friday we travel back in time, one year at a time, for a look at some of the cultural goodies that may appear closer than they really are in The Rear-View Mirror. Join us on our weekly journey into the past!

Those of you who’ve been following this site for a while will know that when Criterion brought out a complete collection of Ingmar Bergman’s films, I was there pretty much immediately. I got the collection, a gorgeous collector’s item filled with existentialist Swedish goodness, and since then we’ve been watching an instalment in the ongoing Bergman saga on a more or less monthly basis. What better way to start your weekend than by watching a marriage crumble into acrimony and psychological cruelty? Criterion’s since announced another similar set – The Complete Films of Agnès Varda – and chances are I won’t be able to resist… but really, what I’ve been hoping for ever since the Big Box of Bergman is an announcement that Criterion is doing the equivalent for another one of the greats of world cinema. I am, of course, talking about Uwe Boll.

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I’ll be in my trailer… watching trailers: Faces, places, flowers and film

Join us every week for a trip into the weird and wonderful world of trailers. Whether it’s the first teaser for the latest installment in your favourite franchise, an obscure preview for a strange indie darling, whether it’s good, bad, ugly or just plain weird – your favourite pop culture baristas are there to tell you what they think.

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Here’s looking at you, and you – and you, Agnès

It’s a comical image: the gigantic works of art, plastered on the side of buildings and in one case even a towering stack of shipping container, and looking at them, the tiny, old woman with her white-and-red hair who helped bring these gargantuan images about and document them on film… though while she may be tiny and old, she most definitely isn’t frail. In fact, she stands as tall as anyone and anything in the film.

Visages Villages

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