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Atom Egoyan.
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In the following review, Moore praises Egoyan's exploration of the nature of family in Family Viewing, but finds fault with his use of prostitution to suggest alienation.
All is not well in the...
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In the following essay, Harcourt, who teaches at Carleton University in Ottawa, traces the themes and cinematographic techniques characteristic of Egoyan's films and places the director'...
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In the following interview, Egoyan discusses the nature of the film industry, his approach to filmmaking, and the influence of Canadian identity.
Widely regarded as Canada's leading independent...
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In the following essay, Johnson considers the unique voice in Egoyan's films and explores the sources of his recurring cinematic themes.
Lunch with Atom Egoyan. He arrives late, on the run in a...
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In the following review, Romney praises Egoyan's work in The Adjuster, particularly his skillful use of repetition.
[In The Adjuster,] Noah Render, an insurance loss adjuster, lives in the only...
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In the following review, Taubin explores the recurring themes common in The Adjuster and Egoyan's earlier films.
The protagonist of The Adjuster, Atom Egoyan's discomforting fourth featu...
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In the following review, Wall discusses the central plot and thematic material in Calendar.
Canadian director Atom Egoyan is a quiet man who avoided a press conference after the initial screening of h...
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In the following review, Chang describes the history behind Egoyan's Calendar and explores the film's major plot elements.
Atom Egoyan won the Moscow Prize for The Adjuster in 1991. The ...
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In the following essay, Johnson explores Egoyan's career, influences, and the filmmaker's concerns about his future.
Rolling up to a movie premiere in a limousine is a familiar ritual. B...
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Critical Review by Suzanne Moore
