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Even the real sea is not the sea that we know—the sea that is Darwazah’s liberty, Varda’s heart, and Hopinka’s custodian. What has been given to us through the oceanic message is an inviolable museum of images, and that is why filmmakers—those makers, founders, and interrogators of images—will always come to seek its profundity, its point of contact between worlds. 
The urge after life—from art and business alike—is the creation of memorial. But memorial for Corman feels impossible, if only for the breadth. He directed nearly 60 films, produced some 385. By 1964, he was the youngest filmmaker to have a retrospective at the Cinémathèque française. In April 2020, the 94-year-old announced “the first (and hopefully last) Corman Quarantine Film Festival.”

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Miloš Forman’s Amadeus is the story of a rivalry, and it’s easiest to describe that feud as occurring between Salieri, the genteel craftsman, and Mozart, the buffoonish genius. But, more precisely, the feud is between Salieri and God, on whom he pins the blame for his torment.