Terrence Rafferty

Full of booze, bons mots, and backstabbing, Joseph L. Mankiewicz’s impeccably crafted showbiz drama is the rare movie where—as its star, Bette Davis, once put it—“it all came out right.”

In one of his most underrated gems, now playing on the Criterion Channel, the Bengali master explored the futility of words and the power of a look.

French New Wave icon Jeanne Moreau possessed a stillness, a way of surrendering to the camera, that made her utterly unique among modern actors.

Jan Troell’s narration of one Swedish couple’s arduous journey to America portrays the migratory quality of marriage—of “finding that you think of this person who is not you, or this place that is not the land of your birth, as your home.”

Satyajit Ray began his filmmaking career by offering a vision of the young Apu, the character he would go on to follow throughout the three films of his stunning breakthrough epic.

German director Bernhard Wicki proved his uncommon cinematic skill with his heartbreaking tale of teen soldiers sent off to die near the end of World War II.

Roman Polanski’s dark vision is the perfect fit for Shakespeare’s grim tale of treachery and ambition.

Jeanne Moreau’s flighty, enigmatic Jackie in Jacques Demy’s poetic drama is in the great tradition of dreamy Demy heroines.

Henri-Georges Clouzot’s cool, clammy, twisty 1955 thriller is an almost perfect movie about a very nearly perfect murder.

In the too-brief life and art of Max Ophuls (1902–57), La ronde was a momentous film, a turning point. It represented a homecoming of sorts, though “home” was a rather fluid concept for Ophuls, who was born in Germany, worked in the theater the

Allen Baron’s stark, moody Blast of Silence (1961) is a movie of many strange distinctions. It’s among the last of the true film noirs, those fatalistic black-and-white urban crime dramas that darkened the American screen so gloriously in the yea

François Truffaut once wrote, “All of Louis Malle, all his good qualities and faults, was in Elevator to the Gallows”—a statement that, even given French film criticism’s traditionally high tolerance for the counterintuitive, pretty unambigu

Stray Dog, the ninth film directed by Akira Kurosawa, is a detective story that’s also meant to function as a commentary on the desperate social conditions of postwar Japan: a kind of neorealist cop movie. The filmmaker wrote his screenplay first i

Tamura (Eiji Funakoshi), the hero of Kon Ichikawa’s overwhelming Fires on the Plain, may be the loneliest man in the history of the movies—lonelier than the spiritual pilgrims of Bergman, Bresson, and Dreyer. He is a soldier in an army that, in d