In the current issue of The L, Nicolas Rapold reviews Catherine Breillat’s Bluebeard (pictured, right): “The fascinations of death and eros figure in both, with the starkness that the format licenses, but the film’s also a seriocomic treatment of sisterly challenges and marital contracts.”
Last fall, when Bluebeard screened at the New York Film Festival, he spoke to Breillat about the film: “The thing that people notice is that there’s no sex or nudity,” she sighed. They went on to discuss period detail, the uses of enchantment, and Plato; read the full interview here.
And online this week, Dan Callahan reviews the Irish playwright Conor McPherson’s new flick , The Eclipse (pictured, left): “an elegantly shot Irish ghost story” with “some fine, tense scenes… and some enjoyable hamming”.
Last spring, when the film played at the Tribeca Film Festival, Simon Abrams sat down with McPherson to discuss, among other things, the differences between live theater and film: “[In the theater,] you’re really staring hard at this thing and I think concentrating so hard takes the audience into a communal trance. In a film, it’s like a dream that somebody dreams for you.” Read the whole interview here.