Film Style

With a new introduction, acclaimed director and screenwriter Paul Schrader revisits and updates his contemplation of slow cinema over the past fifty years. Unlike the style of psychological realism, which dominates film, the transcendental style expresses a spiritual state by means of austere camerawork, acting devoid of self-consciousness, and editing that avoids editorial comment.

Kyle Blake likes plans. So far, they're pretty simple: Finish her senior year of high school, head off to a good college, find a cute boyfriend, graduate, get a good job, get married, the whole heterosexual shebang. Nothing is going to stand in the way of that plan. Not even Stella Lewis. Stella Lewis also has a plan: Finish her senior year as cheer captain, go to college, finally let herself flirt with (and maybe even date) a girl for the first time and go from there. Fate has other plans for Kyle and Stella when they're paired up in their AP English class.

As a top international model, hardworking Penelope Plessen changes her hair like other women change shoes. Jetting between runways in the world's most glamorous cities is the life she's dreamed of, yet it all implodes during Fashion Week in New York City when a run-in with a paparazzi turns deadly. Navy SEAL turned bodyguard Stefan Armstrong, the man who once broke her heart, whisks her to safety.

The Night of the Hunter (1955) was Charles Laughton's only film as director. Part expressionist horror movie, part luminous fairy tale, it contains some of the most haunting images in cinema. Willa (Shelley Winters) her throat cut and hair streaming out like seaweed, sitting upright in a...