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With the triumph of the international style -- episodic and oblique, offering no easy meanings or solutions -- came the latest surge of immigrant directors and cinematographers. Some, like Forman, Soviet Filmmaker Slava Tsukerman (Liquid Sky) and the Cuban-bred camera magician Nestor Almendros, were sidestepping new tyrannies. Some, like Louis Malle (Pretty Baby, Atlantic City, Alamo Bay), sought a larger canvas on which to test their palettes. Many others were Australians and Englishmen attracted by the grand contradictions of a country with which they shared a language and part of a heritage. America was, of course, where the action was. Also...

Author: /time Magazine | Title: Cinema: Magic Shadows From a Melting Pot for New Americans, the Movies Offered the Ticket for Assimilation | 7/8/1985 | See Source »

...circa 1983. The victims here are denizens of New York's underground-zombies of the spirit, existing on quick fixes of drugs and sex-for whom death is just the ultimate high. This kinky, doggedly erratic comedy was made in the city by Soviet Émigré Slava Tsukerman in a style that suggests a head-shop fire sale: garishly painted faces, a closeup of a heroin needle doing its dirty work, clever special effects computerized colors bright as an acic dream. Liquid Sky, now playing tc packed houses in a small Manhattan theater, is a two-hour...

Author: /time Magazine | Title: Cinema: Rushes: Sep. 12, 1983 | 9/12/1983 | See Source »

Morris Kranc, a Cambridge resident who returned from the Soviet Union a week ago after a 10-day visit with refuseniks in Moscow, Kiev and Kishinev, reported that Vladimir Tsukerman, one of the six, had been arrested and sentenced to imprisonment until after the Madrid Conference, because he refused to obey the KGB's orders that he call off his hunger strike...

Author: By John D. Moore, | Title: Hillel Phone-In | 11/8/1980 | See Source »

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