“... Asmartly​ dressed man, wearing suit, tie and hat in the 1920s fashion, walks towards us along a New York street, accompanied by a stylish woman. Suddenly, he is flat on his back. He gets up, dusts himself off, and walks on as jauntily as before.What happened? Well, in the two-dimensional world in which he lives – this is a movie – he stepped on a banana peel ...”

“... Many​ new films have deferred release dates, and cinemas keep reminding us to watch at home the films they can’t show. ‘The olden days,’ Anthony Lane said in a recent, very funny New Yorker piece, ‘ended a few months ago.’ Those were the days when ‘humans went to the movies’. It’s also true that the olden days had long been invaded by other habits ...”

“... One of the​ signatures of classic film comedy is a kind of crazy grace amid peril, a performance of control where there seems to be none. We think of Harold Lloyd in Safety Last! hanging from the hands of a clock high above city streets, and dozens of moments involving Charlie Chaplin and Buster Keaton. There is a reverse tradition, but it doesn’t produce classics, only extended parodies of bad luck ...”

“... Horror movies are often about materialisation in a very particular sense, the grisly acting out of fears and phobias that in daily life are kept safely (if painfully and disastrously) in the mind. No director realises this more clearly than David Cronenberg. He is best known no doubt for The Fly (1986), Dead Ringers (1988) and his much vilified Crash (1996), but some of us have a soft spot, if that’s the term, for his early work The Brood (1979), a classic instance of the acting-out theory ...”

“... Much of​ Ridley Scott’s Napoleon feels like an unintended essay on the art of cinema. The good bits, and there are quite a few, make up a silent film with some noise. The terrible bits are over-simplified soap opera, where people talk and are supposed to have feelings. Critics and scholars have complained about ‘historical inaccuracies’, but the most interesting deviations from fact are not that ...”

“... Cinema,’ Christian Petzold once said in an interview, ‘always tells the stories of people who do not belong anymore but who want to belong once again.’ ‘Always’ seems a bit of a stretch, but the idea is interesting. Petzold thinks of John Wayne in The Searchers – ‘also a ghost’, he says – and we could add James Stewart in Vertigo struggling to bring back to life a woman who isn’t dead ...”

“... Ayellow bus​ takes tourists around a remote island to visit sites associated with a great director’s life and work. Another director takes this location as the setting for a troubled and troubling film about screenwriting. We are watching Mia Hansen-Løve’s latest film but one, Bergman Island (2021). Reality serves as a film historian without help from anyone except the inventors of the tour, but surely Hansen-Løve, who wrote and directed the movie, is going too far when she has the words ‘Bergman Safari’ painted on the side of the bus ...”

“... Reflecting​ on Megalopolis, a film he first envisaged in the 1970s and filmed (mostly in Georgia) in 2022, Francis Ford Coppola recalled thinking about a famous definition offered by Jean-Luc Godard: a film is composed of a beginning, middle and end, although not necessarily in that order. With a little tweaking the phrase helps us to contemplate this sprawling new movie ...”

“... the way we imagined the 1960s when we thought they were still the 1950s. Larry Gopnik, played by Michael Stuhlbarg with a fine capacity for recurring surprise, as if he were Clark Kent who kept forgetting he had another identity, is an assistant professor of physics at the local university. He is just coming up for tenure, and one form of the petering-out ...”

“... opens, as the tale does not, with a stress on the imagination. ‘Do you have an imagination?’ Michael Redgrave asks, as the feckless playboy uncle who wants the children off his hands. But he’s not glancing at the development of the story, he merely wants to know if Miss Giddens (the character is unnamed in the tale) can see herself in the job he wants ...”

“... Victory Films. The head of distribution said it was ‘dreadful’ and refused to release it. Michael Balcon came to the rescue, and got Ivor Montagu to re-edit it. But what was wrong? Was the film too clunky or not clunky enough? Let’s look. The opening is spectacular, and very quick. We see a terrified woman’s face but not what she is terrified ...”

“... burning only his half of the proceeds. The background to this event is an anecdote-cum-fable that Michael Caine, as the faithful servant Alfred, tells Christian Bale as Bruce Wayne. There was a bandit in Burma, apparently, who stole jewels at will from almost everyone and was never caught – because he didn’t want and didn’t keep the jewels, he just ...”

“... The police report hovered, as such documents often do, between literal description and bewilderment, showing the letter of the law to be touchingly at odds with what the felon was up to. He certainly ‘performed a high-wire act’, but was it with ‘intent to cause public inconvenience’ and did he actually create ‘a hazardous condition which served no legitimate purpose’? The felon in question, Philippe Petit, who in 1974 crossed on a wire from one tower of the World Trade Center to the other eight times, lay down on the rope for a while, and surrendered to the police only when a helicopter was sent after him, is the subject of James Marsh’s remarkable film Man on Wire ...”

“... The first time the name appeared in the movie I thought I had misheard it. The second time also. It was only when I read a few reviews and plot summaries that I could confirm that I wasn’t dreaming, inserting an unlikely joke where there couldn’t be one. The precious mineral found only on the planet Pandora which would, if mined and transported, cure the wrecked energy system of the abused planet Earth, is indeed called unobtanium ...”

“... I inhabit the cinema,’ Agnès Varda says at the end of her autobiographical film, The Beaches of Agnès. ‘It’s my house. It seems I have always lived here.’ Of course we understand her metaphorically, even if we wouldn’t put it past the bag-lady character she plays at various moments in this work to set up house inside some forgotten foyer ...”