THE WITNESS (Péter Bacsó, 1969)

My paternal grandmother had a term for movies like this: anti movies. They’re usually against either socialism or communism, and they are ideologically driven by capitalists, fascists, religionists or proto-fascists.      Péter Bacsó’s A Tanú has become legendary through no credit of its own. Its attraction is its history. The film was made in the late […]

THE TRAVELLING PLAYERS (Theodoros Angelopoulos, 1975)

Members of the nouvelle vague had started out as film critics; in the 1970s another film critic, and before that a lawyer, emerged as a new visionary in world cinema: Greece’s premier film artist, Theodoros Angelopoulos. Angelopoulos began developing the style—patient, soulful, analytical, political, and charged with profound, unsentimental emotion—which has become, in fact, the […]