Explore the vast range of titles available.

Described in the program as \"too pretty, stifling and nightmarish,\" the design elements of the set were perhaps less pretty and nightmarish than disconcerting: a mounted deer head, stuffed birds of prey, and game-themed wall paper brought to mind a peculiar confounding of the hunter and the hunted, punctuated by flowery chairs (too bright), the Christmas tree and the children's new toys. If this description of the polar bear rug implies something of the terrible, the audience (myself included) responded once again by laughing. The final moments of the production confirmed my sense that Fau's Maison de Poupeé did not quite manage to achieve its wanted balance between the comic and the terrible, between \"figures, phantasms and clichés\" and the unbearable (but instructive) truth of the doll house.

Reactions in France to Jean-Pierre Jeunet's phenomenally successful film Le fabuleux destin d'Amélie Poulain (2001) tend to fall into two groups. According to one perspective, the film is a superficial and racially sanitized form of cinetourism; according to another, it is a profound and sincere celebration of traditional French values. For both groups, the cultural work the film performs coalesces around close-ups of the face of Audrey Tautou, the film's star. This essay asks how Tautou's face and the close-up shot it exemplifies can say so much while showing so little. By drawing on the theoretical history of camera distance, it argues that the formal design of the close-up, which demands simultaneously an analytic and an affective response to the visual image, usefully informs the relations between political reactions to the film and French debates around the question of national identity at the start of the twenty-first century.

Backpacking boho boys and girls meet up in their early 20s, share wine, and talk, and beds, then move on to quarterlife crises, and now, grownup-ness, with marriages and kids and all the attendant blah blah.

[...]there are quiet spells on sets to be sure, but this wasn't any ordinary photo shoot-it spanned two days with five models shooting seven looks channeling a South American ambiance. Managing time on set. \"Since there are so many people involved, you want to respect everyone's time,\" he explains.