Víctor Erice's return will make you believe in miracles

by Cláudio Alves

Miracles haven't existed in movies since Dreyer.

So says a gruff film editor to his aged director friend in Víctor Erice's first feature in three decades, a work brilliant enough to make a lie of that line. Well, it was miraculous to me, though there must be some dissenters out there. Folks like Thierry Frémaux who infamously conned Erice into opening the flick at Cannes under the assumption it would play in competition. Only, Close Your Eyes didn't get to vie for the Palme d'Or, getting shafted into the newborn Premiere section. At this point, that farrago must be water under the bridge, though one presumes a big Cannes victory would have helped Close Your Eyes get to theaters sooner. For American audiences, it only now made it to screens, enjoying a limited release courtesy of Film Movement…

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Marty's on Letterboxd! Are You?

by Cláudio Alves

During the actors' strike, many directors were put front and center of their films' promotion, stepping into the place usually occupied by their stars. It's an understandable strategy, alright. That's what happened to Killers of the Flower Moon, which, regardless of the industry's actions, would have hinged much of its publicity on Martin Scorsese. However, his centrality in the marketing meant we got to see more of him than expected, including a social media surge that can probably be attributed to the director's daughter, Francesca Scorsese. Between TikTok videos and snappy interviews, the old master even joined Letterboxd…

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100th Anniversary: "Leaves from Satan's Book"

by Cláudio Alves

Carl Theodor Dreyer is one of my favorite filmmakers. I'll never forget the first time I watched The Passion of Joan of Arc on the big screen and was transported, how experiencing Vampyr felt like witnessing a projected nightmare, the ecstasy of Ordet's ending or Gertrud's stern ruminations on love. It's to my great shame that I'm not familiar with the Danish director's early works, having mostly ignored them until now. The centennial of Dreyer's second feature, Leaves from Satan's Book, makes this a great time to start correcting these cinephilic lacunas…

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