Woody Allen wrote a very moving tribute to Diane Keaton, you can access (free subscription required) at this link. The whole piece is worth reading, but this part in particular really blew me away: As time went on I made movies for an audience of one, Diane Keaton. I never
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Nearly everything I know about Eastern European culture is based on what I read and watch. I’ve made one very brief trip to Warsaw that, to be honest, felt a lot like modern day Chicago to me, so I can’t extrapolate much of anything from it. But this
Karol is still holding onto that 2 franc piece, but as this segment opens, he is down by the river at night and contemplating tossing it in — perhaps a final goodbye to the French adventure that turned out so badly for him. But he can’t bring himself to throw
Kieslowski decided not to show us what Karol needed to steal before his flight back to Warsaw. It’s a plaster sculpture of a woman who bears some resemblance to Dominique that he saw in a store window. We don’t immediately know where Karol is as we watch an
I’ve written about Diane Keaton before in the context of “Annie Hall,” and perhaps “Reds” as well, but I can’t say enough about just how great an actress she was. I think I just have to show clips. This first from “Love and Death.” No one could take
This is a good time in the story to introduce my theory of “Three Colours: White” — actually, two different theories. The first is that, while Kieslowski officially calls Blue, White, Red a trilogy, there is a single moral universe that binds The Dekalog, The Double Life of Veronique and the