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This layer of society is relatively new to Avedon's camera, which is more commonly trained upon Nastassja Kinski's pout and Brooke Shields' rump. He has spent more than three decades at the pinnacle of fashion photography. But at the same time, he has perfected a mordant style of portraiture that mocks the earthly vanity his fashion shots glorify. The fixtures of that style are familiar: unsmiling figures shot in sharp focus against a plain white background. (Avedon started his career taking identity-card shots for the Merchant Marine.) The results can be pitiless. With every wrinkle...

Author: /time Magazine | Title: Into the Land of Our Dreams | 12/16/1985 | See Source »

...well, Yugoslavia, actually -- came one of the few entries to uphold the standard of defiantly indigenous "little" films, Emir Kusturica's Papa's Away on a Business Trip. A brutal, poignant, exuberant story of a family rent by political and sexual chicanery, Papa boasts nary a Hurt nor a Kinski among its actors, and earned every frond of Cannes's grand prize, the Palme...

Author: /time Magazine | Title: Show Business: Haggling, Honors and Hype | 6/3/1985 | See Source »

...named Travis (Harry Dean Stanton) staggers through the desert, mute and loco. His square brother (Dean Stockwell) hauls Travis home to be reunited with his young son (Hunter Carson). Now Travis goes searching, with the boy in tow, for his long-lost wife (Nastassja Kinski). Welcome to the new West, pardner, where the myth of the loner is yoked to the grail of domestic reconciliation. No wonder Paris, Texas is as powerfully schizoid as its title: German director (Wim Wenders), American screenwriter (Sam Shepard), the clashing strategies of an international cast. With his gorgeous, precise images of the American Southwest...

Author: /time Magazine | Title: Cinema: Rushes: Dec. 3, 1984 | 12/3/1984 | See Source »

...objects as gimmicks to tie the photographs together, the snapshots and the snapshooters hail from widely divergent areas of the KodaColor World. Duncan specializes in dance photography, that magic art of dissimulation that turns aging Nuryevs into air-bound youths, or transforms a Natalia Markarova into a Natassia Kinski. These f-stop Michaelangelos glory in sweat, stretches, and lots of straining muscle, and a big hunk of Duncan's photos are devoted to lesser known celebs for the sake of their better built bodies...

Author: NO WRITER ATTRIBUTED | Title: The Color Red | 11/30/1984 | See Source »

...FATHERLY LEADER of the group, Klaus Kinski, is nothing short of eerie. His restrained tension saves the script, which at times is too obvious in its attempt to show how even nice guys can get tough in times of war. For instance, in one scene Kinski is shown simultaneously ordering a PLO girl killed and calling his wife "to check up on family news." His understated brutality--he always seems on the edge of exploding--teamed with his paternal aura save scenes like this from heavy-handedness. In many ways, this is his film...

Author: By Mollv Chff, | Title: Terrorists in Love | 11/1/1984 | See Source »

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