The Top 100 American Films of All Time, According to 62 International Film Critics

in Film | September 7th, 2017

Entertainment first, and art second? Hasn’t that always been the American way when it comes to film? And is that how the rest of the world sees it, especially considering France’s love of Jerry Lewis, Germany’s obsession with David Hasselhoff, and China taking Nicholas Cage’s career choices more seriously than he does himself?

In this list of The 100 Greatest American Films, the BBC polled 62 international film critics to see what they thought were the United States’ enduring contributions to cinema culture. The films only needed to be funded by American companies—the directors could be from other countries. (If not, about a third of these choices would be disqualified. Five are by Hitchcock alone.)

As for other favorite directors, Spielberg gets five (although the highest entry, Jaws, comes in at 38) and Billy Wilder gets five, with The Apartment the highest ranked at 24. The most popular decade for film is the 1970s, the top two being Coppola’s first two Godfather films. (It would be interesting to know the median age of these 62 critics, just to see if their formative years align with the decade.)

Of the 100, here’s the Top 10:

10. The Godfather Part II (Francis Ford Coppola, 1974)
9. Casablanca (Michael Curtiz, 1942)
8. Psycho (Alfred Hitchcock, 1960)
7. Singin’ in the Rain (Stanley Donen and Gene Kelly, 1952)
6. Sunrise (F.W. Murnau, 1927)
5. The Searchers (John Ford, 1956)
4. 2001: A Space Odyssey (Stanley Kubrick, 1968)
3. Vertigo (Alfred Hitchcock, 1958)
2. The Godfather (Francis Ford Coppola, 1972)
1. Citizen Kane (Orson Welles, 1941)

Comparing this list to BFI’s 2012 list of the Top 100 films of all time, there isn’t much difference in the top spots. And, in the years to come, I suspect those top four films will switch places occasionally but never really leave.

Instead, the surprises come further down the list. Gone with the Wind used to be considered a classic, no doubt bolstered by its box office success at the time. But its politics have weakened its position, and, along with Birth of a Nation, it might not last another decade on such lists. On the flip side, black filmmakers have four films on the list and women directors only one (Meshes of the Afternoon one of the best experimental films of all time).

Other interesting choices include The Lion King (the only animated film on the list), Sternberg’s The Shanghai Gesture, and Minnelli’s The Band Wagon (one of two musicals by the director on the list). What films would you like to see added or taken away? Is this a fair assessment of America’s worth? Let us know in the comments.

Above, you can watch a somewhat idiosyncratic presentations of the films on the BBC list.

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The 10 Greatest Films of All Time According to 846 Film Critics

Ted Mills is a freelance writer on the arts who currently hosts the FunkZone Podcast. You can also follow him on Twitter at @tedmills, read his other arts writing at tedmills.com and/or watch his films here.

by Ted Mills | Permalink | Make a Comment ( 10 ) |

The 100 Funniest Films of All Time, According to 253 Film Critics from 52 Countries

in Comedy, Film | September 4th, 2017

Does comedy come with an expiration date? Scholars of the field both amateur and professional have long debated the question, but only one aspect of the answer has become clear: the best comedy films certainly don’t. That notion manifests in the variety of cinematic eras represented in BBC Culture’s recent poll of 177 film critics to determine the 100 greatest comedy films of all time. Most of us have seen Harold Ramis’ Groundhog Day at some point (and probably at more than one point) over the past 24 years; fewer of us have seen the Marx Brothers’ picture Duck Soup, but even those of us who consider ourselves far too cool and modern to watch the Marx Brothers have to acknowledge its genius.

That top ten runs as follows:

Some Like It Hot (Billy Wilder, 1959)
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (Stanley Kubrick, 1964)
Annie Hall (Woody Allen, 1977)
Groundhog Day (Harold Ramis, 1993)
Duck Soup (Leo McCarey, 1933)
Life of Brian (Terry Jones, 1979)
Airplane! (Jim Abrahams, David Zucker and Jerry Zucker, 1980)
Playtime (Jacques Tati, 1967)
This Is Spinal Tap (Rob Reiner, 1984)
The General (Clyde Bruckman and Buster Keaton, 1926)

The BBC have published the top 100 results (the last spot being a tie between the late Jerry Lewis’ The Ladies Man and Martin Scorsese’s The King of Comedy) on their site, accompanied by a full list of participating critics and their votes, critics’ comments on the top 25, an essay on whether men and women find different films funny (mostly not, but with certain notable splits on movies like Clueless and Animal House), another on whether comedy differs from region to region, and another on why Some Like It Hot is number one.

Though no enthusiast of classic Hollywood would ever deny Billy Wilder’s gender-bending 1959 farce any honor, it wouldn’t have come out on top in a poll of American and Canadian critics alone: Stanley Kubrick’s Dr. Strangelove wins that scenario handily. “Intriguingly, Eastern European critics were much more likely to vote for Dr Strangelove than Western European critics,” adds Christian Blauvelt. “Perhaps the US and countries that used to be behind the Iron Curtain appreciate Dr. Strangelove so much because it ruthlessly satirises the delusions of grandeur held by both sides. And perhaps Some Like It Hot is embraced more by Europeans than US critics because, although it’s a Hollywood film, it has a continental flair and distinctly European attitude toward sex.”

Other entries, such as Jacques Tati’s elaborate modernity-critiquing 70-millimeter spectacle Playtime, have also been received differently, to put it mildly, at different times and in different places. But if all comedy ultimately comes down to making us laugh, the only way to know your own position on the cultural comedic spectrum is to simply sit down and see what has that singularly enjoyable effect on you. Why not start with Keaton’s The General, which happens to be free to view online — and on some level the predecessor of (and, in the eyes of may critics, the superior of) even the physical comedies that come out today?

The General, “Perhaps the Greatest Film Ever Made,” and 20 Other Buster Keaton Classics Free Online

The 10 Greatest Films of All Time According to 358 Filmmakers

The 10 Greatest Films of All Time According to 846 Film Critics

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Based in Seoul, Colin Marshall writes and broadcasts on cities and culture. He’s at work on the book The Stateless City: a Walk through 21st-Century Los Angeles, the video series The City in Cinema, the crowdfunded journalism project Where Is the City of the Future?, and the Los Angeles Review of Books’ Korea Blog. Follow him on Twitter at @colinmarshall or on Faceboo k.

by Colin Marshall | Permalink | Make a Comment ( 5 ) |

The “Lost” Pink Floyd Soundtrack for Michelangelo Antonioni’s Only American Film, Zabriskie Point (1970)

in Film, Music | September 4th, 2017

There’s a good argument to be made that some of the most insightful writing about the United States comes from artists observing the country from afar or through the eyes of a bemused newcomer. For European artists and thinkers, writing about the behemoth across the sea seems to have proven an irresistible challenge from the start, even if, like Franz Kafka, some never set foot on the continent. Alexis de Tocqueville, Werner Herzog, Martin Amis, Wim Wenders, the list could go on and on, and would include many very enlightening perspectives.

But not every such effort has been a success, in either critical or commercial terms. Michelangelo Antonioni’s Zabriskie Point (1970), for example, the Italian director’s “only American movie,” writes Richard Metzger at Dangerous Minds, “completely missed its mark and failed to capture the zeitgeist of the hippie New Left counterculture of the era.”

When the film was released in 1970, “audiences and critics alike hated it, just hated it.” The film’s young, unknown male lead Mark Frechette “distanced himself from the director,” writes Dennis Lim at Slate, saying, “he wasn’t making a film about any America I knew.” Guitarist John Fahey, in Rome to record a song for the film, almost came to blows with Antonioni “when the maestro launched into an anti-American rant.”

If Antonioni came off to his critics as a “clueless tourist” cinematically, he also passed up an excellent opportunity musically. In the studio when the Doors recorded “L’America” for L.A. Woman, he “inexplicably turned down the track, which could have worked spectacularly well in his film.” Instead, thanks in large part to his co-writer and current girlfriend Clare Peploe, Antonioni chose Pink Floyd to score the film, after hearing Peploe’s copy of Ummagumma. He loved the album, and listened to it obsessively, especially the dramatic, psychedelic “Careful with that Axe, Eugene.”

In the end, however, only three songs from the band made the final cut. Antonioni instead filled out the soundtrack with music by Fahey, The Youngbloods, Roy Orbison, The Grateful Dead, and others. The complete recording of the original Floyd soundtrack was never commercially released and has only officially existed in fragments. One fan in a music forum notes that the 2 CD Zabriskie Point soundtrack includes the three songs from the film and four unused bonus tracks. The huge, and hugely expensive, Floyd box set The Early Years contains 16 outtakes, none of them on the soundtrack CD.

The only way fans have been able to hear the complete, original soundtrack has been through a series of bootlegs, some featuring only the eight intended final songs, others including some or all of the known outtakes. One such compilation, above, collects several songs and outtakes, but doesn’t include the full completed soundtrack. Despite this discographic disarray, the discarded original soundtrack, in its many forms, has proven “an extremely satisfying listen,” Metzger writes. If it sounds “like a ‘lost’ Pink Floyd album recorded at the end of 1969,” it’s “because that’s exactly what it is.” Reminding us at times of Atom Heart Mother, or Meddle, or Ummagumma, it both looks back at previous work and ahead toward what’s to come.

The band turned out some uncharacteristically straight-ahead electric barroom blues (above). “Heart Beat, Pig Meant,” which appears over the film’s opening credits (top) “was Pink Floyd’s first time using a human heartbeat as a musical instrument (but it would not be the last).” Richard Wright’s “The Violent Sequence,” further up, may have been scrapped by Antonioni, but it would later “be retooled as ‘Us and Them’ on Dark Side of the Moon.” Aside from that album’s unintended life as uncanny sonic accompaniment to The Wizard of Oz, the band did some of its most experimental, and transitional, work through film soundtracks, such as those for Barbet Schroeder’s 1969 More and 1972 film The Valley. Their work with Antonioni is no exception, but Zabriskie Point, likely because of its many confusing states of existence, has not received as much attention.

Perhaps it’s time to revisit Zabriskie Point, the film, as well as its original soundtrack. As fans of Pink Floyd, we can see what inspired the band to create music that would help determine the direction of their epic albums to come. As fans of Antonioni, perhaps, we may come to a greater appreciation of his much-maligned flop, which Lim contends “is of a piece with Antonioni’s best work: a luxuriant portrait of spiritual alienation with a sense of place far more expressive than its blankly beautiful characters.” Given that description, it’s no wonder Antonioni found Pink Floyd such an intriguing choice, even if neither the Italian director nor English band had said much of anything in their work about the cauldron of political unrest, sexual experimentation, and cultural disaffection of the U.S. in the late 60s.

via Dangerous Minds

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

by Josh Jones | Permalink | Make a Comment ( None ) |

A Short Documentary on Artist Jeff Koons, Narrated by Scarlett Johansson

in Art, Design, Film | September 1st, 2017

If you don’t move, nothing happens. — Jeff Koons

Jeff Koons, the subject of Oscar Boyson’s recent pop video essay, above, is surely one of the most widely known living artists. As with fellow artists Damien Hirst and Cindy Sherman the spotlight has produced an army of detractors who know very little about him, or his large, far-ranging body of work.

The choice of Scarlett Johansson to provide snarky second-person narration might not jolly Koons’ naysayers into suspending judgment long enough for a proper reintroduction. (His show-and-tell display of his Venus of Willendorf coffee mug causes her to quip, “You sexy motherfucker.” Ugh.)

On the other hand, there’s rapper Pharrell Williams’ onscreen observation that, “We need haters out there. They’re our walking affirmations that we’re doing something right.”

The potential for clamorous negative reaction has never propelled Koons to shy away from doing things on the grand scale in the public arena, as the giant open air display of such sculptures as “Seated Ballerina,” “Balloon Flower,” and “Puppy” will attest.

Surely, the genial affect he brings to the film is not what those who abhor “Made in Heaven,” a series of erotic 3‑D self-portraits co-starring his then-wife, porn-star Ilona “Cicciolina” Staller, would have expected.

Nor does he come off as a pandering, high priest of kitsch, something certain to disappoint those who abhor “Michael Jackson and Bubbles,” his gaudy, larger-than-life glazed porcelain sculpture of the King of Pop and his pet chimp.

“Kitsch is a word I really don’t believe in,” he smiles (possibly all the way to the bank).

Instead, he veers toward reflection, a fitting preoccupation for an artist given to mirror-polished stainless steel and more recently, gazing balls of the sort commonly found on 20th-century American lawns. He wants viewers to take a good look at themselves, along with his work.

Those whose hearts are set against him are unlikely to be swayed, but the undecided and open-minded might soften to a list of influences including Duchamp, Dali, DaVinci, Fragonard, Bernini, and Manet.

Ditto the opinions of a diverse array of talking heads like Frank Gehry, Larry Gagosian, and fellow post-modernist David Salle, who praises Koons’ artistic dedication to “everyday American-style happiness.”

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Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine. Follow her @AyunHalliday.

by Ayun Halliday | Permalink | Make a Comment ( None ) |

Jared Leto Stars in a New Prequel to Blade Runner 2049: Watch It Free Online

in Film, Sci Fi | August 31st, 2017

Blade Runner, as anyone who’s seen so much as its first shot knows, takes place in the Los Angeles of November 2019. Though the film flopped when it came out in 1982, the acclaim and fans it has drawn with each of the 35 years that have passed since didn’t take long to reach the kind of critical mass that demands a sequel. After numerous rumors and false starts, the October release of Blade Runner 2049, produced by Blade Runner director Ridley Scott and directed by Arrival director Denis Villeneuve, now fast approaches. The new movie’s promotional push, which has so far included trailers and making-of featurettes, has now begun to tell us what happened between 2019 and 2049.

“I decided to ask a couple of artists that I respect to create three short stories that dramatize some key events that occurred after 2019, when the first Blade Runner takes place, but before 2049, when my new Blade Runner story begins,” says Villeneuve in his introduction to the brand new short above.

Taking place in the Los Angeles of 2036, the Luke Scott-directed piece “revolves around Jared Leto’s character, Niander Wallace,” writes Collider’s Adam Chitwood, who “introduces a new line of ‘perfected’ replicants called the Nexus 9, seeking to get the prohibition on replicants repealed,” the government having shut replicant production down thirteen years before due to a devastating electromagnetic pulse attack for which replicants took the blame.

A timeline appeared at Comic-Con this past summer covering the events of the thirty years between Blade Runner and Blade Runner 2049, though in very broad strokes: in 2020 “the Tyrell Corporation introduces a new replicant model, the Nexus 8S, which has extended lifespans,” in 2025 “a new company, Wallace Corp., solves the global food shortage and becomes a massive super power,” in 2049 “life on Earth has reached its limit and society divides between Replicant and human.” The two other short films to come should just about tide over fans until the release of Blade Runner 2049 — not that those who’ve been waiting for a new Blade Runner movie since the 1980s can’t handle another month.

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Based in Seoul, Colin Marshall writes and broadcasts on cities and culture. He’s at work on the book The Stateless City: a Walk through 21st-Century Los Angeles, the video series The City in Cinema, the crowdfunded journalism project Where Is the City of the Future?, and the Los Angeles Review of Books’ Korea Blog. Follow him on Twitter at @colinmarshall or on Faceboo k.

by Colin Marshall | Permalink | Make a Comment ( 1 ) |

Man Ray and the Cinéma Pur: Watch Four Groundbreaking Surrealist Films From the 1920s

in Film | August 31st, 2017

Man Ray was one of the leading artists of the avant garde of 1920s and 1930s Paris. A key figure in the Dada and Surrealist movements, his works spanned various media, including film. He was a leading exponent of the Cinéma Pur, or “Pure Cinema,” which rejected such “bourgeois” conceits as character, setting and plot. Today we present Man Ray’s four influential films of the 1920s.

Le Retour à la Raison (above) was completed in 1923. The title means “Return to Reason,” and it’s basically a kinetic extension of Man Ray’s still photography. Many of the images in Le Retour are animated photograms, a technique in which opaque, or partially opaque, objects are arranged directly on top of a sheet of photographic paper and exposed to light. The technique is as old as photography itself, but Man Ray had a gift for self-promotion, so he called them “rayographs.” For Le Retour, Man Ray sprinkled objects like salt and pepper and pins onto the photographic paper. He also filmed live-action sequences of an amusement park carousel and other subjects, including the nude torso of his model and lover, Kiki of Montparnasse.

Emak-Bakia (1926):

The 16-minute Emak-Bakia contains some of the same images and visual techniques as Le Retour à la Raison, including rayographs, double images and negative images. But the live-action sequences are more inventive, with dream-like distortions and tilted camera angles. The effect is surreal. “In reply to critics who would like to linger on the merits or defects of the film,” wrote Man Ray in the program notes, “one can reply simply by translating the title ‘Emak Bakia,’ an old Basque expression, which was chosen because it sounds prettily and means: ‘Give us a rest.’ ”

L’Etoile de Mer (1928):

L’Etoile de Mer (“The Sea Star”) was a collaboration between Man Ray and the surrealist poet Robert Desnos. It features Kiki de Montparnasse (Alice Prin) and André de la Rivière. The distorted, out-of focus images were made by shooting into mirrors and through rough glass. The film is more sensual than Man Ray’s earlier works. As Donald Faulkner writes:

In the modernist high tide of 1920s experimental filmmaking, L’Etoile de Mer is a perverse moment of grace, a demonstration that the cinema went farther in its great silent decade than most filmmakers today could ever imagine. Surrealist photographer Man Ray’s film collides words with images (the intertitles are from an otherwise lost work by poet Robert Desnos) to make us psychological witnesses, voyeurs of a kind, to a sexual encounter. A character picks up a woman who is selling newspapers. She undresses for him, but then he seems to leave her. Less interested in her than in the weight she uses to keep her newspapers from blowing away, the man lovingly explores the perceptions generated by her paperweight, a starfish in a glass tube. As the man looks at the starfish, we become aware through his gaze of metaphors for cinema, and for vision itself, in lyrical shots of distorted perception that imply hallucinatory, almost masturbatory sexuality.

Les Mystères du Château de Dé (1929):

The longest of Man Ray’s films, Les Mystères du Château de Dé (the version above has apparenlty been shortened by seven minutes) follows a pair of travelers on a journey from Paris to the Villa Noailles in Hyères, which features a triangular Cubist garden designed by Gabriel Geuvrikain. “Made as an architectural document and inspired by the poetry of Mallarmé,” writes Kim Knowles in A Cinematic Artist: The Films of Man Ray, “Les Mystères du Château de Dé is the film in which Man Ray most clearly demonstrates his interdisciplinary attitude, particularly in its reference to Stéphane Mallarmé’s poem Un coup de dés jamais n’abolira le hasard.”

The films will be listed in our collection, 4,000+ Free Movies Online: Great Classics, Indies, Noir, Westerns, Documentaries & More.

Note: An earlier version of this post appeared on our site in April, 2012.

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by Mike Springer | Permalink | Make a Comment ( None ) |

“The Art of David Lynch”— How Rene Magritte, Edward Hopper & Francis Bacon Influenced David Lynch’s Cinematic Vision

in Art, Film | August 29th, 2017

When an artist becomes an adjective—think Orwellian, Kafkaesque, or Joycean—one of two things can happen: their work can be superficially appropriated, reduced to a collection of obvious gestures clumsily combined in bad pastiche. Or their distinctive style can inspire artists with more skill and depth to make original creations that may themselves become touchstones for the future. What might distinguish one from the other is the degree to which we understand not only the work of Orwell, Kafka, or Joyce, but also the work that influenced them.

When it comes to David Lynch, there’s no doubt that the “Lynchian” stands as a model for so much contemporary film and television. But while some directors make excellent use of Lynch’s influence, others strive for Lynchian atmosphere only to reach a kind of uninspired, unintentional parody. The sublime balance of humor and horror Lynch has achieved over the course of his extraordinary career seems like the kind of thing one shouldn’t attempt without serious study and preparation.

Without Lynch’s surrealist vision, oddball characterization and dialogue fall flat—as in Twin Peaks’ second season, which Lynch himself says “sucked.” So what defines the Lynchian? A very distinctive use of music, for one thing. And as the video essay above by Menno Kooistra demonstrates, the significant influence of painting. Lynch himself began painting and drawing at a young age and studied art at the School of the Museum of Fine Arts in Boston in the sixties. While he found his calling in film, his art education prepared him to dream up the unforgettable compositions of the Lynchian world.

Rene Magritte, Edward Hopper, Arnold Böcklin, and the master of psychological horror, Francis Bacon—all of these painters have directly informed Lynch’s nightmarish mise-en-scène. As you’ll see in Kooistra’s video, in side by side comparisons, Lynch adapts the work of his favorite artists for his own purposes. In an interview clip, he says he discovered Bacon at a gallery in 1966 and found the experience “thrilling”—later using the painter’s work as inspiration for The Elephant Man and Twin Peak’s disorienting Red Room.

We see Lynch’s homage to his favorite painters in Eraserhead and Blue Velvet, as well as the current, third season of Twin Peaks, over which he has (as he well should) complete creative control. You may not find Francis Bacon’s disturbing portraits quite as thrilling as Lynch does, or draw on Edward Hopper for a warped version of 1950’s Americana. These are Lynch’s references; they resonate on his particular frequency, and hence provide him with visual frames for his own personal dream logic.

But what we might take away from “The Art of David Lynch” is that the Lynchian is necessarily tied to a painterly sensibility, and that without the influence of fine art on composition, color, and framing, a Lynchian production may be in danger of looking—as he says of that disappointing Twin Peaks’ second season—“stupid and goofy.”

via IndieWire

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

by Josh Jones | Permalink | Make a Comment ( None ) |

The Dune Coloring & Activity Books: When David Lynch’s 1984 Film Created Countless Hours of Peculiar Fun for Kids

in Coloring Books, Film | August 29th, 2017

David Lynch’s Dune, the $40 million cinematic spectacle based on Frank Herbert’s science-fiction epic, faced more than its fair share of challenges: Lynch’s lack of artistic control, elaborate but not quite successful special effects, source material so unsuited to feature-film adaptation that audiences had to read glossaries before the first screenings. In an attempt to get ahead of bad buzz, the massive advertising and merchandising blitz had begun well before the movie’s Christmas 1984 release, but none of its flaks seemed to understand the enterprise of Dune any better than most of those viewers did.

Case in point: the Dune coloring and activity books, evidence that, as Comics Alliance’s Jason Michelitch writes, “what Universal Pictures wanted was a Star Wars of their very own — a whiz-bang space adventure for eight-year-olds that they could merchandise the heck out of to the wide-eyed kids that just a year previous had wheedled their parents into buying plush ewok dolls and toy lightsabers. Instead, Lynch and producer Dino De Laurentis provided them with a dark epic actually fit for consumption by thinking adults. Imagine their chagrin.”

Meredith Yanos at Coilhouse offers a more detailed writeup of the hours of fun on offer in these tonally bizarre books: “First, there’s the Dune Coloring Book, 44 pages of lurid scenes featuring conspiratorial characters from the film. Then there’s the Dune Activity Book. 60 pages of puzzles and games, mazes and more pictures for coloring,” including a recipe for “No-Bake Spice Cookies” that substitutes common cinnamon for Dune’s Spice, a “wacky awareness spectrum narcotic that controls the universe.” Other volumes contain Dune-themed paper dolls, Dune-themed word puzzles, and even Dune-themed math problems.

Though Dune remains primarily remembered as one of the worst flops in cinema history (and even Lynch himself usually refuses to discuss it), a few fans have also come to its defense over the past 32 years. Some of them have no doubt wanted to pass this revisionist appreciation down to their children, a task the Dune coloring and activity books may (or may not) make easier. If you buy them on Amazon, you’ll have to pay between $45 and $75 each — nothing compared to the cost of anything in the actual production of Dune, of course, but still, you may want to keep an eye on eBay instead.

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Based in Seoul, Colin Marshall writes and broadcasts on cities and culture. He’s at work on the book The Stateless City: a Walk through 21st-Century Los Angeles, the video series The City in Cinema, the crowdfunded journalism project Where Is the City of the Future?, and the Los Angeles Review of Books’ Korea Blog. Follow him on Twitter at @colinmarshall or on Faceboo k.

by Colin Marshall | Permalink | Make a Comment ( 5 ) |

The Top 100 American Films of All Time, According to 62 International Film Critics

The 100 Funniest Films of All Time, According to 253 Film Critics from 52 Countries

The “Lost” Pink Floyd Soundtrack for Michelangelo Antonioni’s Only American Film, Zabriskie Point (1970)

A Short Documentary on Artist Jeff Koons, Narrated by Scarlett Johansson

Jared Leto Stars in a New Prequel to Blade Runner 2049: Watch It Free Online

Man Ray and the Cinéma Pur: Watch Four Groundbreaking Surrealist Films From the 1920s

“The Art of David Lynch”— How Rene Magritte, Edward Hopper & Francis Bacon Influenced David Lynch’s Cinematic Vision

The Dune Coloring & Activity Books: When David Lynch’s 1984 Film Created Countless Hours of Peculiar Fun for Kids

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