FANTASIA 2011—THE WICKER TREE (2010)

It's perpetual catch-up here at The Evening Class as I chip away at the monolithic backlog created by the disruption to routine caused by last year's move from San Francisco to Boise, Idaho. But, as they say, time waits for no man, especially for a film journalist with more in queue to transcribe than he can barely handle. But every now and then the boy gets a break.First, film cohort Kurt Halfyard brilliantly tackled transcription duties for our conversation with Robin Hardy, with whom we shared breakfast in Montreal during the 2011 edition of the Fantasia Film Festival where Hardy's lates

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Buddy Giovinazzo, David Gregory, Douglas Buck, Fantasia 2011, Jeremy Kasten, Karim Hussain, Kurt Halfyard, Mitch Davis, Richard Stanley, Robin Hardy, Svenson Brothers Films, Tom Savini,

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SFFS CINEMA: Ryan Lattanzio Reviews SLEEPING BEAUTY (2011)

Ryan Lattanzio has been writing about movies since 2009 for publications like The Daily Californian (where he has served as their lead film critic), the San Francisco Bay Guardian and the SF Appeal. It's with great pleasure that we announce his internship with The Evening Class. A fourth-year English major, Ryan is currently in the trenches of his final semester at UC Berkeley. When he's not panicking about his imminent graduation this May—a day he calls "the execution date"—Ryan is working on a senior thesis project on the modern horror film. If he had to describe himself in three words, th

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Emily Browning, Ewen Leslie, Julia Leigh, Rachael Blake, Ryan Lattanzio, SFFS,

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FILM INTERNATIONAL (VOL. 9, NO. 5)—When Movie Reviews Mattered: a conversation with Dave Kehr

I'm pleased to announce the publication of my interview with Dave Kehr in the current issue of Film International (Vol. 9, No. 5), on the occasion of the University of Chicago's publication of When Movies Mattered: Reviews From A Transformative Decade (2011).

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Dave Kehr, Film International,

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NOIR CITY X: THE KILLERS (1964)—Movie Poster Gallery

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NOIR CITY X: AUTOGRAPH HOUND

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Angie Dickinson, Autograph Hound, Noir City,

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NOIR CITY X: ANGIE!

It's clearly time to start brushing up on Angie Dickinson's career in anticipation of her on-stage appearance with the "Czar of Noir" Eddie Muller at the upcoming 10th edition of Noir City where 35mm prints of two of Dickinson's finest—The Killers (1964) and Point Blank (1967)—will be screened at the world's most popular film noir festival. Where best to start than with David Thomson's entry in The New Biographical Dictionary of Film, wherein he pointedly quips that one thousand words of analysis won't carry more weight than a well-chosen still. Good advice from an ardent admirer.Thomson li

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Angie Dickinson, David Thomson, Dennis Cozzalio, Eddie Muller, Noir City, Sam Kashner,

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TIFF 2011 / PSIFF 2012: MICHAEL (2011)—The Evening Class Interview With Markus Schleinzer

Austrian filmmaker Markus Schleinzer's truly disturbing directorial debut Michael (2011)—not to be confused with Ribhu Dasgupta's Hindi feature of the same name (also released in 2011)—exerts a morbid fascination on the viewer, compelling attention to its unpleasant yet undeniably suspenseful narrative of a pederast (Michael Fuith) who keeps a 10-year-old boy imprisoned in his cellar. Not for the righteous and hardly for anybody else, Michael nonetheless deserves its audience and ranks with Baran bo Odar's The Silence (Das letzte Schweigen, 2010) as a memorable examination of the dark suffer

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Austrian Cinema, David Rauchenberger, Markus Schleinzer, Michael Fuith, PSIFF 2012, TIFF11,

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THE BRIDE WORE BLACK / LA MARIÉE ÉTAIT EN NOIR (1968)—On-stage Conversation With Laura Truffaut and Eddie Muller

"For to kill is the great law set by nature in the heart of existence! There is nothing more beautiful and honorable than killing!"—Guy de Maupassant.At MUBI, Adrian Curry has curated a stunning gallery of posters for François Truffaut's The Bride Wore Black (La mariée était en noir, 1968) on the occasion of the film's re-release at New York's Film Forum. Also at MUBI, Daniel Kasman offers an object lesson in visual acuity by astutely comparing an Econolite train motion lamp (with "General" engine) as it appears in both The Bride Wore Black and Wim Wender's The American Friend (1977). Then

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Alfred Hitchcock, Charles Denner, Cornell Woolrich, Eddie Muller, François Truffaut, French Cinema, Jeanne Moreau, Laura Truffaut, PFA, Raoul Coutard, Serge Rousseau, SFFS,

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