Spielberg between kitsch and great comedy: America celebrated and criticized William HeidbrederFebruary 24, 2024Comment
Andrzej Wajda interviews Lech Walesa in "Walesa: Man of Hope" William HeidbrederFebruary 20, 2023Comment
Transgression at the end of its line: On Czech director Jiri Menzel's 1966 Oscar-winning film "Closely Watched Trains" William HeidbrederJanuary 30, 2023Comment
Note on "Last Tango in Paris" and Pauline Kael's misreading of it William HeidbrederJanuary 23, 2023Comment
Thoughts after seeing the Laura Poitras film, “All the beauty and the bloodshed” William HeidbrederDecember 22, 2022Comment
Martin MacDonagh's "The Banshees of Inisherin": Agonistic friendship as allegory of civil war William HeidbrederDecember 3, 2022Comment
Fassbinder's "anti-semitism" and political incorrectness: A defense William HeidbrederNovember 5, 2022Comment
That impossible lucid object of desire: England in the Sixties and "Billy Liar" William HeidbrederAugust 4, 2022Comment
A working class hero is an admirably fucked up thing to be: Lindsay Anderson’s “This Sporting Life” William HeidbrederAugust 4, 2022Comment
What is at stake in today's liberal protests? "Blue Island" as posing the question William HeidbrederMay 2, 2022Comment
Republic of excellence or reign of terror? Images of France in Audrey Diwan’s “Happening” (l‘Événement) William HeidbrederMay 2, 2022Comment
Bergman's "The Shame": On the horrors of being in a war as a civilian William HeidbrederApril 18, 2022Comment
Love and socialism: On Fassbinder's politics, a response to Jacobin magazine William HeidbrederFebruary 13, 2022Comment
As in politics, so in art: The National Review does not like "The Velvet Underground" and they aren't saying why William HeidbrederOctober 17, 2021Comment
The normality of being the other sex: Sébastien Lifshitz's "Little Girl" in Rendez-vous with French Cinema William HeidbrederMarch 6, 2021Comment