Současní filmoví režiséři Série

Before his death in 2016, Abbas Kiarostami wrote or directed more than thirty films in a career that mirrored Iranian cinema's rise as an international force. His 1997 feature Taste of Cherry made him the first Iranian filmmaker to win the Palme d'Or at Cannes. Critics' polls continue to place Close-Up (1990) and Through the Olive Trees (1994) among the masterpieces of world cinema. Yet Kiarostami's naturalistic impulses and winding complexity made him one of the most divisive--if influential--filmmakers of his time. In this expanded second edition, award-winning Iranian filmmaker Mehrnaz Saeed-Vafa and film critic Jonathan Rosenbaum renew their illuminating cross-cultural dialogue on Kiarostami's work. The pair chart the filmmaker's late-in-life turn toward art galleries, museums, still photography, and installations. They also bring their distinct but complementary perspectives to a new conversation on the experimental film Shirin. Finally, Rosenbaum offers an essay on watching Kiarostami at home while Saeed-Vafa conducts a deeply personal interview with the director on his career and his final feature, Like Someone in Love.

Since the release of Do the Right Thing in 1989, Spike Lee has established himself as a cinematic icon. Lee's mostly independent films garner popular audiences while at the same time engaging in substantial political and social commentary. This book presents an examination of Spike Lee's oeuvre.

A critical analysis of an exceptional American director

Since his explosive debut with the indie sensation Hard Eight , Paul Thomas Anderson has established himself as one of contemporary cinema's most exciting artists. His 2002 feature Punch-Drunk Love radically reimagined the romantic comedy. Critics hailed There Will Be Blood as a key film of the new millennium. In The Master , Anderson jarred audiences with dreamy amorphousness and a departure from conventional story mechanics. Acclaimed film scholar and screenwriter George Toles approaches these three films in particular, and Anderson's oeuvre in general, with a focus on the role of emergence and the production of the unaccountable. Anderson, Toles shows, is an artist obsessed with history, workplaces, and environments but also intrigued by spaces as projections of the people who dwell within. Toles follows Anderson from the open narratives of Boogie Nights and Magnolia through the pivot that led to his more recent films, Janus-faced masterpieces that orbit around isolated central characters--and advance Anderson's journey into allegory and myth. Blending penetrative analysis with a deep knowledge of filmic storytelling, Paul Thomas Anderson tours an important filmmaker's ever-deepening landscape of disconnection.