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...Family Viewing, which ultimately deals with Van's oedipal conflict with his father, helped make Egoyan a known commodity in the film world. This visibility was increased through a highly publicized incident at the Montreal Film Festival, in which veteran director Wim Wenders handed first prize to Egoyan after winning for Wings of Desire...

Author: By William Gienapp, CRIMSON STAFF WRITER | Title: Independent Means | 2/18/2000 | See Source »

...look at Alain Delon (the delicate stud of Purple Noon) or Dennis Hopper (who gave Ripley a cowboy swagger in the 1977 The American Friend, Wim Wenders' adaptation of Ripley's Game) and see an actor sharpening his tools: the attentiveness, the useful smile, the waiting for a cue to make his move. Ripley watches Dickie, and an actor prepares. We watch the actor playing Ripley and learn the secrets of his duplicitous craft. It's as if a famous seducer had made a how-to video...

Author: /time Magazine | Title: Cinema: Can Matt Play Ripley's Game? | 12/27/1999 | See Source »

...probably missed it last night, so it's playing again. Wim Wenders's "Alice in the Cities" tracks the budding friendship of a German photojournalist (Rudgier Vogler) and an abandoned 9-year-old girl (Yella Rottlander) as they search for her mother (Lisa Kreuzer). German with English subtitles, black-and-white, 16mm. The Harvard Film Archive, The Carpenter Center for the Visual Arts Main Auditorium. 495-4700. 9:45 p.m. FREE...

Author: NO WRITER ATTRIBUTED | Title: WEDNESDAY MAR 24 | 3/18/1999 | See Source »

...well my resume is somewhat exaggerated. During an audition with the director Wim Wenders, he saw that I had played Hamlet a Few years ago. He said that I must Have been the youngest Hamlet ever. It was actually from high school. I should really update my resume...

Author: By Jared S. White, | Title: Paul Rudd Loves the Nightlife! | 3/5/1999 | See Source »

Most movies don't begin by asking the viewer to define a word, but Wim Wenders' intensely bizarre The End of Violence does. From the moment the voice-over at the opening credits declares that we should define violence "since we're making a movie about it," it becomes clear that this film is stubbornly going to refuse to submit itself to any familiar genre...

Author: By Erwin R. Rosinberg, CRIMSON STAFF WRITER | Title: Some Technophobia for Everyone | 10/10/1997 | See Source »

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