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.

There were plenty of advantages to living in Paris in the early 1970s, especially if one was a movie buff with time on one’s hands. The Parisian film world is relatively small, and simply being on the fringes of it afforded some exciting opportunit…

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

Your vigilance as an artist is an amorous vigilance, a vigilance of desire.—Roland Barthes to Michelangelo Antonioni, 1979 It’s lamentable that Michelangelo Antonioni, one of the most fashionable vanguard European filmmakers during the sixties, h…

For several decades now, William Faulkner’s Light in August (1932) and Carl Dreyer’s Gertrud (1964) have been major touchstones for me—not only separately but also in some mysterious relation to each other. I even managed to find a wa…

Now that Terry Zwigoff’s Crumb is fifteen years old, it seems pretty safe to say that it has evolved from a potential classic to actually being one. But what kind? A documentary portrait of a comic-book artist, musician, and nerdy outsider? A pe…

Unlike the more aesthetically and intellectually conceived French New Wave, Italian neorealism was above all an ethical initiative—a way of saying that people were important, occasioned by a war that made many of them voiceless, faceless, and namel…

Isuppose it could be argued that I saw Playtime for the first time in ideal circumstances—as an American tourist in Paris. Yet to argue this would mean overlooking the film’s suggestion that, like it or not, we’re all tourists nowadays—and al…

Irecently had occasion to show Ivan the Terrible in a course on forties world cinema I’m teaching at Chicago’s School of the Art Institute, and found it more mind-boggling than ever. This has always been the Eisenstein feature that’s given me t…

“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

There’s plenty of wit on the surface,” I wrote in my capsule review of Kicking and Screaming when it was released a little over a decade ago, “but the pain of paralysis comes through loud and clear.” Having voluntarily spent five years as an …

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

Ifirst encountered Carl Dreyer’s work in my teens, but it wasn’t until my forties that I began to be ready for it. I mainly had to rely on lousy 16-millimeter prints, so ruinous to the sounds and images of Day of Wrath that I could look at that f…

There are two ways of viewing the film career of Orson Welles which have tended, by and large, to be mutually exclusive. One can regard it as a fascinating but largely frustrating attempt to make mainstream Hollywood movies—an effort that yielded o…

It seems incredible that it’s taken seventeen years for a film as truly great as Parade—Jacques Tati’s final work—to become available in the U.S., and that it’s reaching the public, for the first time, on laserdisc. But old habits die hard,…