The figures in the carpet

Article Abstract:

Terence Davies is a visual poet who uses his Catholic family's history in the nineteen-fifties in his films, 'Distant Voices, Still Lives' and 'The Long Day Closes'. He portrays the mother as a holy, domestic widow who brings up her children alone after their father's death. The story is seen through the eyes of Bud, a reclusive son who sees intense visions. The visions are overwhelming experiences, shown in a disorientating way. Risky features abound, some successful, some not. When dialogue from other films is used on the soundtrack it is considered inappropriate.

Works, Davies, Terence

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The father of The Exorcist

Article Abstract:

Filmmaker William Friedkin does not mind that he will always be associated with 'The Exorcist,' rather than with any of his other work. This film is often seen as one of the best horror films ever, but Friedkin emphasizes that he and William Peter Blatty, who wrote the screenplay and the novel on which the film was based, did not think in genre terms. Similarly, he does not think in terms of manipulating the audience. He believes that the mark of a truly great film is that it universally makes people suspend belief.

Interview, Filmmakers, Movie directors, Movie producers (Persons), Friedkin, William

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A boy's own wartime story

Article Abstract:

Agnieszka Holland's 'Europa Europa' is disturbing but also funny. It is about a Jewish orphan, Solomon Perel, played by Marco Hofschneider, who assumes Aryan identity and becomes a member of the Hitler Youth. The story alternates ordeals and pleasant experiences to demonstrate that suffering was not meaningless.

Criticism and interpretation

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