Author Spotlight

Michael Koresky

Michael Koresky is a writer, editor, and filmmaker in Brooklyn. He is the Editorial Director of Museum of the Moving Image; cofounder and editor of the online film magazine Reverse Shot, a publication of MoMI; a longtime contributor to the Criterion Collection and Film Comment; and the author of Terence Davies (University of Illinois Press, 2014). Koresky programs the series Queersighted for the Criterion Channel.

75 Results
On the Margins: Todd Haynes’s Poison

This touchstone of nineties independent filmmaking is a reminder that true queer cinema is about taking risks and breaking taboos—an increasingly rare thing in our corporatized entertainment culture.

By Michael Koresky

Queer Fear: Dorian the Devil

In Albert Lewin’s cagey adaptation of The Picture of Dorian Gray, homosexuality is viewed as it was in much of classical Hollywood cinema: as an eerie monstrosity.

By Michael Koresky

Turn the Gaze Around

A racist, traditionally desexualized archetype from classic Hollywood gets queered and eroticized in Cheryl Dunye’s indie landmark The Watermelon Woman, now playing on the Criterion Channel.

By Michael Koresky

The Ache of Desire

Whether sublimated or made explicit, that longing feeling so specific to the queer experience has always existed in the movies. A new series on the Criterion Channel dives into this richly layered but long-suppressed cinematic history.

By Michael Koresky

MGM’s Stairway to Paradise

With megawatt performers in front of the camera and remarkable talent behind the scenes, the golden-age MGM musical became Hollywood’s most utopian expression of joy.

By Michael Koresky

Queer, There, and Everywhere

Now playing on the Criterion Channel, Christopher Munch’s New Queer Cinema landmark The Hours and Times excavates a gay fantasy from the annals of Fab Four lore.

By Michael Koresky

Songbook

When a Lovely Flame Dies: The Climactic Heartbreaker in 45 Years

The Platters’ impassioned rendition of the pop chestnut “Smoke Gets in Your Eyes” highlights the irrevocable loss in Andrew Haigh’s marriage drama.

By Michael Koresky

One Scene

Transitory Figures: One Scene from Before Sunrise
Romantic love is poignant because it is an infinite feeling that exists in a finite frame. And Richard Linklater’s Before Trilogy is the most romantic and profound of love stories because it imbues love with the weight of time. In these three films…

By Michael Koresky

Fox and His Friends: Social Animals

Rainer Werner Fassbinder plays a working-class gay man hoodwinked by his uppity bourgeois lover in this unsparing portrait of queer culture in 1970s West Germany.

By Michael Koresky

Phoenix: Just Be Yourself

In Phoenix, Christian Petzold sets his nuanced melodrama of postwar German-Jewish identity within a starkly realist aesthetic, making newly fascinating use of his enduring interest in the tensions between the real and the artificial.


By Michael Koresky

Eclipse Series 44: Julien Duvivier in the Thirties

Julien Duvivier’s early sound films offer emotionally rich explorations of life in prewar France.

By Michael Koresky

Dressed to Kill: The Power of Two

Brian De Palma magnifies the pleasures and perils of Hitchcock and toys with the viewer’s spectatorship in his sly and scary horror masterpiece.

By Michael Koresky

Eclipse Series 43: Agnès Varda in California

The films Agnès Varda made while living on the West Coast of the United States are some of the most searching and challenging of her stellar career.

By Michael Koresky

Performances

Michael’s Turn: Michael Jeter in The Fisher King
The late character actor Michael Jeter had a profound effect on me as a child, but as with so many things, I didn’t realize it until I was an adult. Twenty-five years ago this month, I saw my first Tony Awards broadcast. Amid all the spectacle—os…

By Michael Koresky

Eclipse Series 42: Silent Ozu—Three Crime Dramas

Atypical in style and subject, Yasujiro Ozu’s early crime dramas show a

future master brilliantly experimenting with camera and editing.

By Michael Koresky

Eclipse Series 41: Kinoshita and World War II

The prolific and popular Keisuke Kinoshita made his fascinating first movies at a time of great difficulty and censorship, yet their spirit and brilliance shine through.

By Michael Koresky

Terence Davies: Chronicle of a Carpet
The following is excerpted from the book-length study Terence Davies, out September 8. See the bottom of the post for a clip of the scene it describes. Excerpt copyright 2014 by the Board of Trustees of the University of Illinois and used with perm…

By Michael Koresky

Performances

The Woman in Back: Lily Tomlin in Nashville
Today, the idea that comedian-actor-writer Lily Tomlin possesses dramatic versatility is so received that one might not realize how unexpected it was for audiences to see her in a serious role in Robert Altman’s Nashville in 1975. At that point, sh…

By Michael Koresky

Performances

Man with a Plan: William Greaves in Symbiopsychotaxiplasm Take One
We don’t often talk about documentaries as featuring performances. But consider the highly performative people at the centers of Grey Gardens, General Idi Amin Dada, and last year’s The Act of Killing, or even the seemingly more modest souls …

By Michael Koresky

The Long Day Closes: In His Own Good Time

Terence Davies beckons the viewer into a private world of moods and sensations with this exquisite childhood reverie.

By Michael Koresky

Eclipse Series 40: Late Ray

Satyajit Ray was ailing when he made them, but these three works from the great filmmaker’s final years show an artist at the height of his powers.

By Michael Koresky

Eclipse Series 39: Early Fassbinder

From the beginning, it was clear that Rainer Werner Fassbinder was destined to shake up German cinema.

By Michael Koresky

Performances

The Witch Upstairs: Patsy Kelly in Rosemary’s Baby
In Rosemary’s Baby, one of the first exclamations that Minnie Castevet (Ruth Gordon) makes on hearing the news that her young neighbor Rosemary (Mia Farrow) is expecting a little bundle of joy is “I can’t wait to tell Laura-Louise!” Earlier…

By Michael Koresky