If there’s anything to be learned from Preminger’s movies, it is that nothing is as it seems: from his early tour de force Laura (1944) to the late masterpiece Bunny Lake is Missing (1965), Preminger’s films are preoccupied with illusory truths and shifting façades. The premises of both these films — a murdered woman in the former and a missing child in the latter— are shattered midway through, challenging everything the audience has learned up to that point.
Read my entire review of Film Forum's Otto Preminger retrospective here at The L Magazine online.
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