Anton Bitel

4 days ago | lwlies.com | Anton Bitel

About Little White Lies Little White Lies was established in 2005 as a bi-monthly print magazine committed to championing great movies and the talented people who make them. Combining cutting-edge design, illustration and journalism, we’ve been described as being “at the vanguard of the independent publishing movement.” Our reviews feature a unique tripartite ranking system that captures the different aspects of the movie-going experience. We believe in Truth & Movies.

1 week ago | projectedfigures.com | Anton Bitel

A Comedy of Power (L’ivresse du pouvoir) first published by Film4“Any resemblance to persons living or dead is, as they say, coincidental.” It may open with this archly diffident disclaimer, but the events and characters in A Comedy of Power (L’ivresse du pouvoir) are plainly drawn from the , wherein the fraudulent practices of a state-supported French oil company were exposed in a public inquiry conducted by fearless investigating judge Eva Joly.

2 weeks ago | bfi.org.uk | Christopher Bird |Stuart Isaac Burnside |Anton Bitel |José Arroyo |Jose arroyo

As part of the BFI’s Film on Film season, BFI National Archive Curator Rosie Taylor and I will be presenting an event about a film format very few people have even heard of: 28mm. Most people know about Kodak’s 16mm gauge, brought out in 1923, and a few know about Pathé’s 9.5mm, brought out the year before. But a decade earlier was a truly pioneering film gauge, designed to take films out of cinemas and into schools, churches and even homes.

2 weeks ago | bfi.org.uk | Stuart Isaac Burnside |Anton Bitel |José Arroyo |Jose arroyo |Josephine Botting

How do you begin to discuss a video game as seminal as Pac-Man on its 45th anniversary? Pac-Man is a rare gaming beast that has managed to transcend its trappings to become something of a cultural shorthand for the medium of video games as a whole. Titles are rarely as impactful as Namco’s 1980 masterpiece, and the little circular hero shows no signs of retiring any time soon.

2 weeks ago | bfi.org.uk | Anton Bitel |José Arroyo |Jose arroyo |Josephine Botting |Carmen Gray

“Eeurgh, that was horrible!” says a schoolgirl during a class on cinematic presentations of World War II, complaining about Come and See (1985), Elem Klimov’s notoriously confronting story of Belarusian Holocaust. “Well maybe it was horrible,” responds her teacher Stuart Reeves (Stuart Laing), “but war is horrible.” This exchange, coming near the beginning of Thomas Clay’s debut feature The Great Ecstasy of Robert Carmichael (2005), also neatly reflects the film’s initial reception.