On Film

With novelistic intimacy, Rahmin Bahrani’s follow-up to Man Push Cart illuminates the economic desperation hiding in plain sight in contemporary America.

Set in a transient, post-9/11 New York City, Rahmin Bahrani’s feature debut follows the Sisyphean toil of a Pakistani immigrant whose life teeters on the verge of catastrophe.

We’re losing Cinefex but gaining a newly robust Screen Slate. And the new Cineaste is out, along with this year’s Hollywood issue of Vanity Fair.

A film that now plays like a harbinger of the #MeToo movement, Joyce Chopra’s first fiction feature shows how the myths that direct how girls come of age threaten their safe passage to womanhood.

Here’s the latest on projects coming from Todd Haynes, Chloé Zhao, David Cronenberg, Yorgos Lanthimos, and Claire Denis.

Bill Duke’s feature debut is a rarity in American cinema: a labor film, funded by unions and public money, that balances political urgency with emotional tenderness.

A close friend and collaborator of Carrière’s reflects on the late writer’s fearless approach to the creative process and the source of his staggering productivity.

Did You See This?

This week’s round takes us from Italy in the 1950s and ’60s to America in the ’70s and Hong Kong in the ’90s.

We’re reading about Visconti, Fellini, Tom Stoppard, Eartha Kitt, and Anton Walbrook.

Reviews are strong for the biography of the unique theater and film director, comedian and actor.

Ousmane Sembène’s second feature departs from his early-career critiques of colonial power, instead focusing on the oppressive forces manifested within postcolonial African society.

Rooted in their trailblazing work as archivists of Black culture, the duo’s transgressively candid documentaries combine revelations of family life with cultural analysis.

Did You See This?

This week we’re revisiting Tarkovsky, catching up with Shelley Duvall, and listening to Edgar Wright and Quentin Tarantino talk movies.

The virtual first half of this year’s festival will premiere new work from Céline Sciamma, Hong Sangsoo, Dominik Graf, and Ryusuke Hamaguchi.

In the actor’s inimitable comedic work, he undercut his trademark suavity with moments of slapstick mayhem, creating a contrast that hinted at the chasm between his private life and public persona.

Carrière was a humble and eager collaborator, working with Buñuel, Forman, Malle, Oshima, Schlöndorff, Wajda, and Godard.

Alan J. Pakula captured the anxiety of the seventies in this noir-inflected conspiracy thriller, which offers a critique both of American institutions and of the self-made heroes who do battle with them.

Renowned for his work with Fellini, Visconti, and Bob Fosse, Rotunno was the first non-American to join the American Society of Cinematographers.

This year’s winners come from India, Corsica, Kosovo, Argentina, Bosnia and Herzegovina, and Thailand.

Did You See This?

This week we’re reading Nick Pinkerton on Fassbinder’s problems with Chabrol and revisiting films by Marguerite Duras, Lizzie Borden, and Béla Tarr.

Here’s an overview of what critics have been saying about this year’s winners.

The lauded star of film, television, and theater was “determined to do all I could to alter the narrative about Black people.”

Critics and programmers introduce the thirty titles lined up for the Tiger and Big Screen competitions.

Dark Passages

A powerful motif in film noir from around the world, dance is by turns a tool of seduction, a source of humiliation, and a symbol of the pleasures and risks of spectatorship.