Kogonada

A Korean-born man finds himself stuck in Columbus, Indiana, where his architect father is in a coma. The man meets a young woman who wants to stay in Columbus with her mother, a recovering addict, instead of pursuing her own dreams. (imdb)

Filmmaker Kogonada, with a little help from Sylvia Plath, reflects on women and mirrors in the films of Ingmar Bergman, in this exclusive new video essay. (criterion)

Kogonada explores the 1960s work of Jean-Luc Godard, highlighting the iconic director's signature themes and devices. (vimeo)

A video essay on how Andrei Tarkovsky's Solaris transcends science fiction.

When characters stare at the camera in the films of Alfred Hitchcock, the look is almost always associated with the threat of death (through the eyes of a victim, a murderer, a witness). This momentary suspension between death and life is partly what makes Hitchcock the indisputable master of suspense.

Kogonada's video essay showcases the similarities of the multiple films Yasujiro Ozu made in his lifetime. Ozu created a genre of his own – a way of filmmaking that was cultivated and nourished throughout Ozu's career as a filmmaker. (letterboxd)

A cinema experiment: what rival visions would emerge if you pitted the director of The Bicycle Thieves against the producer of Gone with the Wind on the same movie material? History can tell us… (youtube)

Somewhere in this piece is an untenable theory about how this perspective is more than an aesthetic choice for Kubrick but a gateway to the meaning of life. (kogonada)

A visual essay on the tactile world of Robert Bresson created for the Criterion Collection.

In a near future, a family reckons with questions of love, connection, and loss after their A.I. helper unexpectedly breaks down. (imdb)

Based on the New York Times bestseller, this sweeping saga chronicles the hopes and dreams of a Korean immigrant family across four generations as they leave their homeland in an indomitable quest to survive and thrive.

Of all the recurring signatures of Malick, his use of fire and water might be the most telling, in part because there’s a significant shift between early Malick and later Malick.

Kogonada explores director Ingmar Bergman’s Cries and Whispers, a film in three movements.

If cinema is the art of time, Linklater is one of its most thoughtful and engaged directors. Unlike other filmmakers identified as auteurs, Linklater’s distinction is not found on the surface of his films, in a visual style or signature shot, but rather in their DNA, as ongoing conversations with cinema, which is to say, with time itself.