Robert Fischer - Double Feature

Robert Fischer

Fassbinder in Hollywood
Ernst Lubitsch in Berlin: From Schönhauser Allee to Hollywood
The Cinema and its Double: Rainer Werner Fassbinder's 'Despair' Revisited
Monsieur Truffaut Meets Mr. Hitchcock
The Mysteries of Paris: Jacques Rivette's Out 1 Revisited
Contract Kid: William Reynolds on Douglas Sirk
Film Beyond Cinema: The Dumpster Kid Experiment and Other Utopias
Swan Song: The Story of Billy Wilder's Fedora
Cinema Redefined: Jacques Rivette's L'Amour Fou Revisited
The Beast Inside: Creating 'Wolf'
Program Notes: An Introduction To The Last Detail By Alexander Payne
Last of the Independents: Don Siegel and the Making of 'Charley Varrick'
Rag Doll Memories: Nancy Allen on 'Blow Out'
Requiem for a Killer: The Making of 'Blast of Silence'
Starting Out: The Making of Jerzy Skolimowski's Deep End
A Cinema of Signs: Claude Chabrol on Alfred Hitchcock
Jack Arnold Remembers The Incredible Shrinking Man
Ganz Berlin lacht sich kaputt: Wie die 'Berliner Ballade' entstand
The Beauty of the Land: Anthony Slide on Andre De Toth and the Indian Fighter
Illusion of Freedom: Richard H. Kline on John Frankenheimer's Birdman of Alcatraz
Painting with Light: Nicholas von Sternberg on Josef von Sternberg
Crazy Love: Janet Bergstrom on Josef von Sternberg's 'Morocco'
Life As It Is: Miloš Forman on Miloš Forman
G.W. Pabst's 'Kameradschaft': An Introduction by Jan-Christopher Horak
G.W. Pabst's 'Westfront 1918': An Introduction by Jan-Christopher Horak
Cop Stories: The Making of Richard Fleischer’s ‘The New Centurions’
Pure Cinema: Joe Napolitano on Brian De Palma's Body Double
Traveling Roadshow
A Search For Truth: Robert C. Jones On Hal Ashby’s 'The Last Detail'
Sucker Punch Blues: A Look Back on John Huston's 'Fat City'
Outer Movement, Inner Movement
About a Trip: Alexander Payne on Hal Ashby's 'The Last Detail'
Touching Death: Alejandro Amenábar on 'Tesis'
Perspectives on Othello: Joseph McBride on Orson Welles
The Poet and the Filmmaker: Volker Schlöndorff on Baal
Love Letters
Return to Beethoven Street: Sam Fuller in Germany
Real Killer, Fake Nose: Richard Fleischer's 'The Boston Strangler' Remembered
Ted Kotcheff's Gourmet Cinema
Return to Philadelphia: George Litto on 'Blow Out'
Black and White in Color: Vilmos Zsigmond on 'Blow Out'
A Winter's War: Keith Gordon on 'A Midnight Clear'
Blood on the Lens: Richard H. Kline on Brian De Palma's 'The Fury'
'Deep End': Remembering the Deleted Scenes
Rumble on the Lot: Walter Hill's Streets of Fire Revisited
Of Love and Constraints
Acting for Douglas Sirk
Before Taking Off: Milos Forman’s Road to America
Beyond Melodrama: Kathryn Bigelow on Douglas Sirk
A Tribute to Douglas Sirk by Allison Anders
Circles of Desire: Alan Williams on Max Ophuls' "La Ronde"
Erinnerungen an 'Väter und Söhne'
Eine Zärtlichkeit wie bei Sirk - Todd Haynes über Fassbinder und das Melodram
Will He Live or Will He Die: Walter Hill on Southern Comfort
Dalton Trumbo: Rebel in Hollywood
The Fury: A Location Journal
Spinning Tales: Fiona Lewis on Brian De Palma's 'The Fury'
The Making of Highlander
Expedition Amazonia
Fassbinder in Hollywood
Ernst Lubitsch in Berlin: From Schönhauser Allee to Hollywood
The Cinema and its Double: Rainer Werner Fassbinder's 'Despair' Revisited
Film Beyond Cinema: The Dumpster Kid Experiment and Other Utopias
Swan Song: The Story of Billy Wilder's Fedora
Cinema Redefined: Jacques Rivette's L'Amour Fou Revisited
The Beast Inside: Creating 'Wolf'
Last of the Independents: Don Siegel and the Making of 'Charley Varrick'
Ganz Berlin lacht sich kaputt: Wie die 'Berliner Ballade' entstand
The Beauty of the Land: Anthony Slide on Andre De Toth and the Indian Fighter
Illusion of Freedom: Richard H. Kline on John Frankenheimer's Birdman of Alcatraz
Painting with Light: Nicholas von Sternberg on Josef von Sternberg
Crazy Love: Janet Bergstrom on Josef von Sternberg's 'Morocco'
Sucker Punch Blues: A Look Back on John Huston's 'Fat City'
Touching Death: Alejandro Amenábar on 'Tesis'
Perspectives on Othello: Joseph McBride on Orson Welles
The Poet and the Filmmaker: Volker Schlöndorff on Baal
Return to Beethoven Street: Sam Fuller in Germany
Ted Kotcheff's Gourmet Cinema
Blood on the Lens: Richard H. Kline on Brian De Palma's 'The Fury'
'Deep End': Remembering the Deleted Scenes
Rumble on the Lot: Walter Hill's Streets of Fire Revisited
Before Taking Off: Milos Forman’s Road to America
Beyond Melodrama: Kathryn Bigelow on Douglas Sirk
A Tribute to Douglas Sirk by Allison Anders
Circles of Desire: Alan Williams on Max Ophuls' "La Ronde"
Erinnerungen an 'Väter und Söhne'
Spinning Tales: Fiona Lewis on Brian De Palma's 'The Fury'
The Fury: A Location Journal
Dalton Trumbo: Rebel in Hollywood
Film Beyond Cinema: The Dumpster Kid Experiment and Other Utopias
Program Notes: An Introduction To The Last Detail By Alexander Payne
Last of the Independents: Don Siegel and the Making of 'Charley Varrick'
The Beauty of the Land: Anthony Slide on Andre De Toth and the Indian Fighter
Budd Boetticher on the Ranown Cycle
Crazy Love: Janet Bergstrom on Josef von Sternberg's 'Morocco'
Painting with Light: Nicholas von Sternberg on Josef von Sternberg
Hans Fromm on 'Phoenix'
Love/Work/Cinema: A Conversation with Christian Petzold and Nina Hoss
Sucker Punch Blues: A Look Back on John Huston's 'Fat City'
Touching Death: Alejandro Amenábar on 'Tesis'
Perspectives on Othello: Joseph McBride on Orson Welles
The Poet and the Filmmaker: Volker Schlöndorff on Baal
Love Letters
Ted Kotcheff's Gourmet Cinema
Blood on the Lens: Richard H. Kline on Brian De Palma's 'The Fury'
Acting for Douglas Sirk
Douglas Sirk erzählt...Zarah Leander und 'Zu neuen Ufern'
A Tribute to Douglas Sirk by Allison Anders
Beyond Melodrama: Kathryn Bigelow on Douglas Sirk
Working with Max Ophuls: Daniel Gélin on "Le Plaisir"
Circles of Desire: Alan Williams on Max Ophuls' "La Ronde"
Working with Max Ophuls: Tony Aboyantz, Assistant Director
Working with Max Ophuls: Robert Christidès, Set Decorator
Working with Max Ophuls: Daniel Gélin on "La Ronde"
Working with Max Ophuls: Annette Wademant, Co-Writer
Working with Max Ophuls: Marc Frédérix, Assistant Decorator
Working with François Truffaut: Nestor Almendros, Director of Photography
Eine Zärtlichkeit wie bei Sirk - Todd Haynes über Fassbinder und das Melodram
Le Plaisir: From Script to Screen

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