Film Secession

Official channel of Film Secession, your home for film and the arts. Join now to discover our shared heritage and to help reimagine the future.

[Film Secession @FilmSecession]

Official trailer for Film Secession (https://t.co/Bcn6IWDER9), an immersive 3D museum without walls that continually opens up new connections between different filmmakers, periods, & art forms. Join now!

[Film Secession @FilmSecession]

@Matcooper Yes, they were supposed to work together on a film called Shadow Company with Kurt Russell in the late 1980s. It's not entirely clear why it never came together. Thanks very much for your comment.

[Film Secession @FilmSecession]

Vigorous and incomparably kinetic, Walter Hill’s films have revitalized the defining genres of American cinema.

Explore Walter Hill’s work through our two-part portrait film (DREAM WORLDS and PRINT THE LEGEND) and our new Exhibition (including OLD AND NEW HOLLYWOOD, CHARACTER AND MYTH, INVITATION TO THE DANCE, GHOSTS OF WAR, and COWBOY ILIADS).

The Exhibition is accompanied by an extensive Film Program: "Walter Hill and the Art of Motion."

Follow the links below to begin exploring.

Walter Hill Exhibition:
https://t.co/0kPJcfg1fO

Walter Hill and the Art of Motion:
https://t.co/ATTBSAadf2

Film Secession:
https://t.co/dX7LtziKef

About Film Secession:
https://t.co/3gTKgAolAE

All films below by Walter Hill:

1. Streets of Fire (1984)
2. Southern Comfort (1981)
3. The Long Riders (1980)
4. Hard Times (1975)

#filmsecession #walterhill #movement #composition #cameramovement #filmstyle #cinematography #filmcolor #westerns #dance #longtake #montage #streetsoffire #arthistory #filmmusic #filmschool

[Film Secession @FilmSecession]

Yes, and there are many others as well (all discussed in the portrait film and exhibition). It was hard leaving out The Driver and 48 Hrs. in particular (but X caps at 4 clips).

[Film Secession @FilmSecession]

@ReelTommyB @MovieDweller It's an announcement of the Film Secession Exhibition on Walter Hill's work. Links are above, and you can also go directly here: https://t.co/pTn1dbtMGr

About:
https://t.co/AS3UAVavKL

[Film Secession @FilmSecession]

@SteveFlembo Yes, he is, and he is very candid and forthright about his approach in the portrait film.

[Film Secession @FilmSecession]

@GalacticCookie0 Have you seen Southern Comfort (1981) or The Long Riders (1980)? Hill was at his peak then. There's more on those (and, of course, The Warriors and The Driver) in the Exhibition and another post will follow soon. Thanks very much for your comments.

[Film Secession @FilmSecession]

Here is a preview for our new Exhibition on director-writer-producer Walter Hill.

In our two-part portrait film (DREAM WORLDS and PRINT THE LEGEND), Hill speaks with candor and insight about John Ford, Raoul Walsh, John Huston, Sam Peckinpah, and his singular approach to the genres that have defined American cinema.

Follow the links below to watch the portrait film and begin exploring.

Walter Hill Exhibition:
https://t.co/0kPJcfg1fO

Film Secession:
https://t.co/dX7LtziKef

About Film Secession:
https://t.co/3gTKgAolAE

#filmsecession #walterhill #movement #composition #cameramovement #filmstyle #johnford #raoulwalsh #sampeckinpah #johnhuston #cinematography #filmstyle #arthistory #filmmusic #filmschool

[Film Secession @FilmSecession]

@JoeFrady Thank you very much! There's a very extensive Film Program ("Walter Hill and the Art of Motion") as well: https://t.co/ZiDZVSzkph

[Film Secession @FilmSecession]

With quiet precision, Hirokazu Kore-eda has helped to reinvigorate the approaches to space, movement, family, and light that have long distinguished Japanese cinema.

Explore Kore-eda’s work through our portrait film and our new Exhibition (including FLOATING CLOUDS, DUST IN THE WIND, FAMILY TIES, DOMESTIC SPACES, THE SENSE OF AN ENDING, and MYSTERIOUS LIGHT). In our extensive portrait film, Kore-eda speaks in great detail about his film style, his obsession with light, practical aspects of film direction, classical Japanese masters like Yasujirō Ozu and Mikio Naruse, the approaches of contemporary filmmakers like Jūzō Itami and Kiyoshi Kurosawa, and the powerful influence of critic Shiguéhiko Hasumi.

Follow the links below to begin exploring:

Hirokazu Kore-eda Exhibition: https://t.co/91ewoU8qDG

About Film Secession: https://t.co/3gTKgAoTqc

Film Secession:
https://t.co/dX7Ltzji3N

#filmsecession #hirokazukoreeda #mikionaruse #yasujiroozu #juzoitami #kiyoshikurosawa #filmlighting #cinematography #cinemaofjapan #japanesefilm #japanesecinema #miseenscène #filmhistory #arthistory #filmschool

[Film Secession @FilmSecession]

@mskp_29 Coming tomorrow from our account. Stay tuned for more.

[Film Secession @FilmSecession]

@asdggaet Thank you very much!

[Film Secession @FilmSecession]

Discover some of the bold ways adventurous editing has been used to transform space, change perceptions, and introduce new creative possibilities in our Montage Exhibition.

Follow the direct link below to begin exploring and learn more (including THE ALL-SEEING EYE, THE CREATIVE HAND, THE CLASSICAL HOLLYWOOD SYSTEM, OZU AND THE MYSTERIES OF THE VASE, MYSTERY AND MECHANISM IN BRESSON AND DREYER, THE CREATIVE GEOGRAPHIES OF THE GODFATHER, ABEL GANCE’S POLYVISION, GODARD’S MONTAGE IMAGES, TARKOVSKY’S MIRRORS, and MONTAGE, MOVEMENT, AND THE SPACES OF MEMORY).

Montage Exhibition:
https://t.co/9RltZeBX7r

About Film Secession:
https://t.co/3gTKgAoTqc

1. The Man with a Movie Camera (Dziga Vertov, 1929)
2. Napoleon (Abel Gance, 1927)
3. The Godfather, Part II (Francis Ford Coppola, 1974)
4. In the Mood for Love (Wong Kar-Wai, 2000)

#filmsecession #montage #filmediting #dzigavertov #abelgance #napoleon #yasujiroozu #francisfordcoppola #thegodfather #wongkarwai #filmstyle #arthistory #filmhistory #filmmusic #filmschool

[Film Secession @FilmSecession]

@JoeFrady As always, your enthusiastic support is greatly appreciated!

[Film Secession @FilmSecession]

What is most striking about this extraordinary sequence from Paul Thomas Anderson’s The Master (2012, clip 1) is an elliptical and tantalizingly enigmatic form of montage.

The four-shot sequence registers as spatiotemporally coherent because of a series of matches and variations, with the right-to-left movement of camera, dolly, and figure in the second shot matched by the left-to-right movement in the third, the shift from lateral to tunnel space in the first shot echoed in the third, and the fourth shot reworking these micro-movements.

We briefly lose the ability to distinguish camera and object, figure and ground at the beginning of the final shot, which gives added resonance to the play with point-of-view in the third. What seems to be a straightforward, over-the-shoulder setup becomes, in motion, something rather different. The repeatedly racked focus serves as a psychological correlate to the protagonist’s yearning for clarity and stability.

Anderson also strongly evokes the work of John Ford, concluding the first shot with a dolly through a doorway much like the one that both opens and closes The Searchers (1956, image 2).

Ford was the cinema’s great poet of passageways, liminal spaces, and transitions, and he gave a strong cinematic inflection to a visual tradition that was rooted in the conventions of Northern European genre painting (image 3).

In My Darling Clementine (Ford, 1946, clip 4), these tropes are brought together in a beautiful, if tentative, synthesis connecting the constitutive elements of social life with emblems – the flags and the church steeple - of a nation undergoing tumultuous change.

Anderson encourages a complementary meditation in The Master by having his flag pass at twilight underneath San Francisco’s Golden Gate Bridge, a different but equally charged icon in our technologically saturated age. Like Ford, Anderson links depictions of the past, here 1946 as seen from the perspective of 2012, to anxieties about the present, as if he were trying to locate the roots of our contemporary malaise.

1. The Master (Paul Thomas Anderson, 2012)
2. The Searchers (John Ford, 1956)
3. The Bedroom (Pieter de Hooch, 1658-1660, National Gallery of Art, Washington D.C.)
4. My Darling Clementine (John Ford, 1946)

Learn more in our Montage Exhibition: https://t.co/9RltZeBphT

Anderson on Film Secession:
https://t.co/bKr3lwoel1

About Film Secession:
https://t.co/3gTKgAolAE

#filmsecession #montage #paulthomasanderson #johnford #themasterfilm #arthistory #filmhistory #filmstyle #cameramovement #iconography #genrepainting #pieterdehooch #filmschool

[Film Secession @FilmSecession]

@ElleaWatson ありがとう��ざいました！より多くの日本の映画ファンが参加していただければ大変光栄です。

[Film Secession @FilmSecession]

In the culminating sequence of Close-Up (1990, clip 1), Abbas Kiarostami transforms what could be an infinitely recurring mise-en-abîme into an extraordinary movement towards deeper understanding. Neorealist pioneer Roberto Rossellini famously said, "To get at reality, you need tricks." For Kiarostami, this means using gaps in sound recording and clearly staged shifts in camera angle to create an impression of spontaneous discovery.

In our portrait films, both Apichatpong Weerasethakul and Ryūsuke Hamaguchi describe Kiarostami as one of two contemporary Asian filmmakers to exert a formative influence. The other is Taiwanese director Hou Hsiao-hsien.

With varying degrees of acknowledgment, both Hou and Kiarostami reworked the paradigms of Italian Neorealism, treating the work of directors like Rossellini as models to be worked through rather than simply emulated.

Hou's greatest films interrogate the complex history of Taiwan and the ruptures created by the Second Sino-Japanese War and the Chinese Civil War, which radically transformed the history of the region. In this respect, the under-rated Good Men, Good Women (1995, clip 2), a documentary/fiction hybrid about the creation of a fictional film derived from the narrated experiences of 1940s resistance fighters, is representative. Hou regards both the leftist idealism of the 1940s and the materialist narcissism of the 1990s with equanimity, using formal devices (camera position and movement, alternations between black-and-white and color) to set up distinctions that are blurred by the mirroring structure of the narrative.

In Syndromes and a Century (2006), Apichatpong combines elements of both approaches, and of the methods of the Surrealists, in a new way. The enigmatic ending (clip 3) once again demonstrates that it is the difficulty of capturing an always shifting reality that creates opportunities for renewal.

Discover the films, watch the portraits, and learn more on Film Secession. Follow the links below.

About Film Secession:
https://t.co/3gTKgAolAE

Hamaguchi on Hou:
https://t.co/ZXXi0I3ilC

Apichatpong Weerasethakul Exhibition:
https://t.co/07wVzmYJ2W

1. Close-Up (Abbas Kiarostami, 1990, Iran)
2. Good Men, Good Women (Hou Hsiao-hsien, 1995, Taiwan/Japan)
3. Syndromes and a Century (Apichatpong Weerasethakul, 2006, Thailand/Austria)

#filmsecession #abbaskiarostami #houhsiaohsien #apichatpongweerasethakul #ryusukehamaguchi #robertorossellini #neorealism #filmhistory #arthistory #documentary #fiction #surrealism #filmstyle #filmschool

[Film Secession @FilmSecession]

@fsdfi2024 Thank you, it's a stunning film and available for anyone to watch with the link above.

[Film Secession @FilmSecession]

Josef von Sternberg's debut feature The Salvation Hunters (1925) already demonstrates the meticulous composition, gestural rhymes, graphic tension, and plastic force that would soon make him one of cinema's preeminent stylists.

Made independently for $5,000 and shot on location throughout the Los Angeles area, the film received the backing of United Artists after Charles Chaplin and Douglas Fairbanks were cajoled into a private screening (lead actress Georgia Hale would co-star in The Gold Rush the next year). The Salvation Hunters was celebrated at the time for unadulterated realism, but it now seems like a unique synthesis of pictorialist atmosphere, Symbolist psychology, and Expressionist space. Its mood and sensibility anticipate the postwar filmmaking of Stanley Kubrick and David Lynch.

We are honored to present this beautiful restoration for the film’s centenary, courtesy of our partners the UCLA Film and Television Archive @UCLAFTVArchive and the Austrian Film Museum.

The soundtrack originates from the debut performance of Dreamscope Trio at Il Cinema Ritrovato in Bologna @cinetecabologna on June 24, 2025. It was mixed by Eduardo Raon.

Dreamscope Trio is a newly formed ensemble consisting of Matti Bye, Laura Naukkarinen, and Eduardo Raon, three internationally acclaimed silent film musicians who, after decades of accompanying the classics of cinema, have come together to explore new artistic territory.

This special presentation of The Salvation Hunters is available to all on Film Secession through the direct link below:
https://t.co/EN5jBZXXI0

About Film Secession:
https://t.co/3gTKgAolAE

#filmsecession #josefvonsternberg #filmstyle #charleschaplin #stanleykubrick #davidlynch #georgiahale #pictorialism #symbolistart #cinematography #filmrestoration #silentfilm #filmhistory #arthistory #filmmusic #filmschool #dreamscopetrio

[Film Secession @FilmSecession]

@JoeFrady Thank you! Yes, there are always many things going on. One of the goals is to find new ways of relating the different films and Exhibitions together. Hawks will feature prominently in our forthcoming Montage Exhibition.

[Film Secession @FilmSecession]

This past summer, we traveled with director Arnaud Desplechin to the Royal Museum of Fine Arts, De Cinema, and other venues in Antwerp to discuss “Cinematic Legacies of Flemish Art.” The four films that resulted are available to all on Film Secession through the direct link below (clip 1).

Desplechin grow up in Roubaix, in French Flanders, and his Flemish artistic inheritance is openly acknowledged in his breakthrough film My Sex Life… (1996), which opens with a memory montage of a childhood visit to Bruges.

Two decades later, Ismael's Ghosts (2017, clip 2) includes a comic scene in which the filmmaker protagonist tries to connect two perspectival approaches developed north and south of the Alps in the middle of the fifteenth century.

What most distinguishes Fra Angelico's painting of The Annunciation at the Convent of San Marco in Florence (1437-1445, image 3) is the adoption of a perspectival system based on a central vanishing-point, recessional lines, orthogonals, and partitions.

The alternative system developed by Bruges-based painter Jan Van Eyck appears to have been derived largely from direct observation. Van Eyck's system, epitomized by The Arnolfini Wedding Portrait (1434, image 4), corresponds closely with the mathematically-based Italian version, as evidenced by the lines of the floorboards at the bottom and the beams at the top. Unlike most of his Italian contemporaries, however, Van Eyck had training as a miniaturist. His painting, much smaller than Fra Angelico's, is full of precisely rendered details that suggest a deeper level of reality that can only be intuited through reflections (as if seen "through a glass darkly"). The mirror in the center, which reflects back more than the viewer can otherwise see, is emblematic.

Learn more on Film Secession (available to all):
https://t.co/pGkn1Y3Dys

1.From Van Eyck to Rubens (Film Secession, 2025)
2.Ismael’s Ghosts (Arnaud Desplechin, 2017)
3.The Annunciation (Fra Angelico, 1437-1445, Convent of San Marco, Florence)
4.The Arnolfini Wedding Portrait (Jan Van Eyck, 1434, National Gallery, London)

#filmsecession @KMSKA #arnauddesplechin #arthistory #flemishart #janvaneyck #fraangelico #painting #renaissanceart #perspective #filmstyle #filmart #filmhistory #filmschool