For most Americans, life, work and daily interactions with the outside world have been interrupted indefinitely and self-isolation at home is the new normal. How we fill those hours are a personal decision but even in the worst of times people need escapism. If you are an avid movie lover, you have a lot of options.
Hundreds of movies are available for free streaming from a variety of legal websites as long as you have access to a computer and a good Wi-fi connection. Below are a handful of options in no specified order for the more discriminating cinephile. These offer everything from classic Hollywood films to cult and indie fare to foreign language selections. Continue reading →
Ingrid Bergman in Europe ’51 (1952), directed by Roberto Rossellini.
The second film collaboration between Ingrid Bergman and Roberto Rossellini, Europe ’51 (1952) might be the most overlooked and misunderstood feature of the famous director-actress team during their turbulent and controversial relationship. Between 1950 and 1955, the couple made five features together and one episode for the five chapter compilation film, We, the Women (1953). Although most film critics seem to regard 1954’s Journey to Italy as their peak achievement, Europe ’51 (aka Europa ’51) received a second chance at reappraisal in September 2013, thanks to The Criterion Collection, which released the film on Blu-Ray and DVD in a set with Stromboli (the first Bergman-Rossellini film from 1950) and Journey to Italy (aka Viaggio in Italia, 1953) . Continue reading →
When did alienation in modern society become a favorite thematic concern in the culture and the arts, particularly in the cinema? Certainly the films of Michelangelo Antonioni addressed the inability of people to connect, feel or relate to each other in a post-industrial age world as early as 1957 in Il Grido. But by the early sixties, it seemed as if every major film director in the world was addressing the topic on some level. A general sense of malaise was in the air as if the modern world was having a counterproductive effect on humanity, creating a sense of futility, amorality or complete apathy. You could see aspects of this reflected in Federico Fellini’s La Dolce Vita (1960), Ingmar Bergman’s Through a Glass Darkly (1961), Alain Resnais’s Last Year at Marienbad (1961), Luis Bunuel’s The Exterminating Angel (1961) and Jean-Luc Godard’s My Life to Live (1962). All of these are considered cinematic masterworks of the 20th century but there are also many worthy and lesser-known contributions to the pantheon of alienation cinema and one of the most strikingly is Il Mare (The Sea), the 1963 directorial debut of Giuseppe Patroni Griffi. Continue reading →