On Film

The top awards at this year’s Critics’ Week go to stories of young people with uncertain futures.

Mira Nair’s sumptuous second feature explores migration, rebellion, and romance across racial borders in the American South.

Park returns to the competition in Cannes with a Hitchcockian murder mystery.

While some critics expected more gore, others see a wryly wise reflection on our biological future.

The Romanian director maps varied strains of racism coursing through a tiny Transylvanian town.

A contemporary reimagining of Au hasard Balthazar becomes an unlikely contender for the Palme d’Or.

Critics take a first look at new films from James Gray, Felix van Groeningen and Charlotte Vandermeersch, Mia Hansen-Løve, Saela Davis and Anna Rose Holmer, and Pietro Marcello.

As Tchaikovsky’s Wife premieres in competition, the Russian director fields questions about cultural boycotts.

In his collaborations with Ford, the beloved star—the highest-paid Hollywood actor of the early 1930s—played multidimensional characters that challenged assumptions about Native Americans.

A new restoration of The Mother and the Whore launches Cannes Classics before Final Cut officially raises the curtain.

Juzo Itami’s tragicomic directorial debut has scandalous fun with the Japanese traditions governing death.

This month we’re reading about David Fincher, Sofia Coppola, Hong Sangsoo, and Werner Herzog.

It wasn’t always smooth going for Max Ophuls, Mike Hodges, or Irrfan Khan.

The director of We’re All Going to the World’s Fair reflects on the transformative power of a Sonic Youth needle drop in Olivier Assayas’s 1996 film.

New York’s Museum of the Moving Image presents a series of nineteen films shot by the accomplished cinematographer.

Before Qiu’s award-winning feature opens in theaters, the National Museum of Asian Art will present an online retrospective.

Louis Feuillade’s influential serial Les Vampires reflected the French national subconscious at the time by depicting a madcap world of anarchy and violent spectacle.

Joseph Losey’s sumptuous portrait of Nazi-occupied Paris sees an icy Alain Delon as an art dealer on a Kafkaesque quest for identity.

The director of Ex Machina and Annihilation returns, and many critics have questions.

Waters has written his first novel, and a collection of Mueller’s writing has just been reissued.

This week: Tarkovsky’s answer to Kubrick, the Otolith Group, Brooklyn filmmakers, German scenes, and Béatrice Dalle.

A coincidental set of screenings and openings almost seems to be responding to the impending reversal of Roe v. Wade.

Five pioneering filmmakers look back on the communities and institutions that helped them flourish in the 1990s, an era in Asian American moving-image culture that has since gone underappreciated.

The twenty-fifth edition offers lavish decadence, experimental poetry, and timely poignance.