Jonathan Rosenbaum

In his final film of the twentieth century, Jim Jarmusch evokes the tragic weight of history while also anticipating the mythical identities of a social-media-saturated future.

Yasujiro Ozu’s ode to childhood interweaves observations of human behavior with the simple surfaces of quotidian life in Tokyo.

Set in nineteenth-century Macao, Orson Welles’s adaptation of a classic tale by Isak Dinesen is a hypnotic meditation on the pitfalls of storytelling.

What you hear is as crucial—and as funny—as what you see in Tati’s films.

Everyday life gets a musical makeover in Jacques Demy’s tale of chance and love, a film of exquisitely sad happiness.

“The Sorbonne should be razed and Chris Marker put in its place.” —Henri Michaux “Contrary to what people say, using the first person in films tends to be a sign of humility: ‘All I have to offer is myself.’” —Chris Marker Even thou

Between the mid-1960s and the mid-1970s, it was generally felt among Western intellectuals and cinephiles that cutting-edge, revolutionary cinema came from Western Europe, Latin America, and the United States. Among the touchstones were Jean-Luc Goda

Movie trilogies can be created by either filmmakers or critics. When Pier Paolo Pasolini wrote and directed The Decameron (1971), The Canterbury Tales (1972), and Arabian Nights (1973), he made no bones about calling them his Trilogy of Life. But whe

ORSON WELLES: Fellini is essentially a small-town boy who’s never really come to Rome. He’s still dreaming about it. And we should all be very grateful for those dreams. In a way, he’s still standing outside looking in through the gates. The fo