Last week I talked about Ganja & Hess, Bill Gunn’s influential “black vampire movie.” This week, we’re going to talk about Spike Lee’s 2015 remake of the film, now available on Kanopy and Vudu. Da Sweet Blood of Jesus takes the basic plot of Ganja & Hess, its […]
Lauren Humphries-Brooks is a writer, editor, and media journalist. She holds a Master’s degree in Cinema Studies from New York University, and in Creative Writing from the University of Edinburgh. She regularly contributes to film and pop culture websites, and has written extensively on Classical Hollywood, British horror films, and the sci-fi, fantasy, and horror genres. She currently works as a freelance copyeditor and proofreader.
The history of Bill Gunn’s 1973 experimental vampire film Ganja & Hess is almost as interesting as the film itself. It premiered to a standing ovation at the Cannes Film Festival, but was subsequently sliced up by its producers due to poor box office and the objection that […]
With the exception of the early films of Alfred Hitchcock, British silent film often gets short shrift when discussed in comparison to the pantheon of other Western cinemas. And it is true that British film heavily borrows from the other cinematic traditions – many directors from the silent […]
Fritz Lang had one of the longest and most unique careers of any German filmmaker to come out of the silents. Unlike some of his fellows, he made the transition from silents to talkies almost seamlessly, mixing the visual aesthetics of silent Expressionism with the possibilities of sound […]
Based upon an informal poll on my Twitter, I’ve come to the conclusion that there are enough people who have not seen The Cabinet of Dr. Caligari to make this one of my recommendations. Because not only is it an essential work of cinema, a historically significant film […]
When we discuss Nazi propaganda films, we usually talk about only two: Leni Riefenstahl’s Olympia and Triumph of the Will. Those films are recognizably propaganda—supposed documentaries meant to showcase the power and pomp of Germany under the Nazis. Riefenstahl’s work has become the only mode by which many […]
Just as Douglas Sirk used melodrama as a vehicle (and a partial blind) for social commentary, writer/director Samuel Fuller utilized hardboiled noir and hallucinatory imagery to interrogate the ugly underpinnings of the American psyche. His films are full of sharp-witted prostitutes and strippers, nasty newspaper men, racists and […]