With roots in Italian neorealism, Federico Fellini’s beguiling body of work moved beyond that movement to embrace the coalescing of real life and dream life.
On the High Wire with Kirk Douglas
The late actor exuded a feverish intensity on-screen that few stars in golden-age Hollywood could match. But in one lesser-known performance, he reveals a tenderness that cut against his persona.
Near the Beginning of Until the End of the World
A key collaborator on Wim Wenders’ sci-fi magnum opus, Michael Almereyda shares a personal reflection written while the film was still taking shape in the editing room.
Cameraperson: Getting Close
Kirsten Johnson interrogates the thorny ethics of nonfiction filmmaking in her intriguingly elliptical blend of essay, travelogue, and memoir.
Wim Wenders: “Between Me and the World”
Wim Wenders’s road movies, Michael Almereyda writes, are “at once minimal and romantic, austere and lyrical,” focusing on questions—of individuals and society, culture and nature—that Wenders has returned to throughout his career.
Ride the Pink Horse: Bad Luck All Around
Director and star Robert Montgomery suffuses his moody 1947 New Mexico–set noir with palpable postwar anxiety and expressive fatalism.
Using a 1958 murder spree as a narrative springboard, Terrence Malick fashioned a fractured fairy tale about American innocence lost.
On the Waterfront: Everybody Part of Everybody Else
Elia Kazan’s masterwork is a vivid, tough look at a time and place, and a transcendent human drama.