Roberto Rossellini shot Germany, Year Zero in the summer of 1947, on location in the actual ruins of Berlin, less than two years after the city's surrender. That context is worth sitting with for a moment. The rubble you see on screen is not a set. The hollowed-
Few toy franchises have had as stubborn a grip on popular imagination as Masters of the Universe. What began as a Mattel action figure line in 1982 snowballed, almost immediately, into an animated television series that became a Saturday morning institution for an entire generation of children on both sides
Egypt in 1881 sat at a peculiar crossroads: the Ottoman-backed Khedivate was losing its grip, European financial interests were tightening around the country like a slow vice, and the great pharaonic sites of the Nile Valley were being systematically stripped, catalogued, and shipped westward. It was into this charged
Bhutan does not have a long history as a film-producing nation. For much of the twentieth century it was closed to outside visitors entirely, and even after cautiously opening its borders in the 1970s it remained one of the least-filmed countries on the planet. That cultural insularity, combined
Artavazd Peleshian occupies a curious position in cinema history: enormously respected within academic and avant-garde circles, yet almost entirely unknown to general audiences outside Armenia and a small cluster of devoted film scholars. Born in 1938 in Leninakan (now Gyumri), Peleshian studied at the VGIK film school in Moscow
By 2014, the Transformers franchise had become something of a cultural phenomenon in its own right, and not entirely for flattering reasons. The first film, which you can read about in Macca's review of Transformers (2007), arrived with genuine novelty, translating a beloved 1980s toy line and animated
By 2011, the Transformers franchise had already established itself as one of the defining commercial forces of late-2000s Hollywood, for better or worse. The first film, which you can read Macca's thoughts on Transformers (2007), was a reasonably fun if overlong piece of summer blockbuster fare. Its
Few national cinemas have as particular a backstory as Suriname's, and One People sits at the very centre of it. The film arrived in 1976, the year after Suriname formally gained independence from the Netherlands, and that timing is no accident. The country's departure from the
Post-apocalyptic science fiction has, over the decades, carved out a well-worn groove for itself: crumbling cityscapes, leather-clad survivors, and some vague warning about humanity's hubris. Crumbs (2015), the debut feature from Spanish director Miguel Llansó, takes that familiar premise and drops it, somewhat jarringly, into
Víctor Erice is the sort of filmmaker whose name gets spoken in hushed, reverential tones in certain corners of the film world, and not without good reason. The Spanish director made his feature debut with The Spirit of the Beehive in 1973, a film that became one of the defining
Casshern arrives with a genuinely unusual pedigree. The source material is a 1973 Tatsunoko Production anime series, Casshan: Robot Hunter, which built a modest but loyal following in Japan on the strength of its pulpy, post-apocalyptic premise and its brooding cyborg hero. The property sat largely dormant for three
There is a particular kind of American regional cinema that flourished in the mid-1970s, built on pickup trucks, backroads, lawmen with bad tempers, and a deeply ingrained suspicion of authority in any form. Moonrunners sits comfortably, perhaps even proudly, within that tradition. Released in 1975 through United Artists, the
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