Few books of film criticism in the past twenty-five years have been so enjoyable or instructive... [Perez] has excellent things to say about authorship, about documentaries, about popular genres, about cinematic point of view and narrative technique, about actors, and above all about camera style... He never condescends to his audience or sacrifices his intellectual clarity, and most importantly he makes us want to look once more at the remarkable pictures he discusses. The virtues of his writing are quite rare.
James Naremore Cineaste Strikes an ideal balance between insightful analysis and graceful writing... A model of thoughtful criticism that treats the complexities of film and the sensibilities of readers with equal understanding, consideration, and respect.
David Sterrit Christian Science Monitor Flaherty's Nanook of the North, Antonioni's Eclipse, Ford's My Darling Clementine, Godard's Breathless. Perez's frame-by-frame analysis of them is always lucid and invigorating, reminding us why these films were considered classics from the first. Even better, Perez takes up lesser known films and filmmakers... The eclectic mixture of films is one the book's strengths, allowing Perez to write on a breadth of topics... Despite holding films to a high standard, Perez never comes off as a film snob; his readings remain rooted in a genuine and communicable love for the cinema.
Jonathan Vogels The Republic of Letters In recent decades there has been no more cogent a rethinking of the physical and psychological experience of film as it evolved, both as a technology and as an art form. I want to read it again, soon.
Nick James Sight & Sound Perez's book may strike some readers as anachronistic because it is about nothing but the author's love of movies, its pleasure lying in the sheer intensity of his intelligence. In so far as this wonderfully flexible and expansive thinker has a thesis, it's that the illusionist medium of cinema is endlessly poised between reality and abstraction... Brilliantly polemical in his critique of cynical reason ('the official philosophy of late capitalism'), no less passionate in defending the truth-value of cinema, Perez seems to be the clearest heir to the great humanist critic Andre Bazin. Sight and Sound Dazzling... The sheer intelligence at work in these lucid pages is exhilarating.
Alfred Guzzetti Boston Book Review [Perez's] early and persistent love of film imbues The Material Ghost: Films and their Medium, which moves gracefully from the documentaries of Robert Flaherty to the revolutionary epics of Alexander Dovzhenko to the pastoralism of Jean Renoir. Chronicle of Higher Education The chapters on Keaton and Renoir are stunning, full of perceptive remarks; the chapter on Godard is a persuasive rehabilitation; none of the chapters is without memorable insights.
Michael Wood London Review of Books The section on [Iranian director Abbas] Kiarostami in Perez's new book, The Material Ghost, is the best comment I've seen on the subject.
Stanley Kauffman New Republic Gilberto Perez's book, The Material Ghost: Films and their Medium (




) ranks with the finest cinematic writing anywhere.
Tony McKibben The List (Glasgow and Edinburgh) It is as fine a book on film as I have ever encountered, a hypermarche of insight, precise and lovely writing, information, and clear thinking. Page after page elaborates arguments so acute and aptly formulated that I have no doubt I'll be exploiting them in the classroom and in writing for the rest of my career.
Lesley Brill Criticism Strikes an ideal balance between insightful analysis and graceful writing... A model of thoughtful criticism.
David Sterritt Christian Science Monitor The chapters on Keaton and Renoir are stunning, full of perceptive remarks; the chapter on Godard is a persuasive rehabilitation; none of the chapters is without memorable insights.
Michael Wood London Review of Books