On Film

4129 Results
Promising Young Winners

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

By David Hudson

Mississippi Masala: The Ocean of Comings and Goings

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

By Bilal Qureshi

Park Chan-wook’s Decision to Leave

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

By David Hudson

David Cronenberg’s Crimes of the Future

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

By David Hudson

Cristian Mungiu’s R.M.N.

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

By David Hudson

Jerzy Skolimowski’s Eo

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

By David Hudson

Five Cannes Standouts

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.

By David Hudson

Kirill Serebrennikov Returns to Cannes

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

By David Hudson

The Uncharted Frontier: Will Rogers in John Ford’s America

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.

By Adam Piron

Cannes Opens with Eustache, Zombies, and Cruise

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

By David Hudson

The Funeral: At a Loss

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

By Pico Iyer

May Books

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

By David Hudson

Did You See This?

Fits and Starts

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

By David Hudson

One Scene

Reality Breaks in Irma Vep

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.

By Jane Schoenbrun

The Inventive Versatility of James Wong Howe

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

By David Hudson

Qiu Jiongjiong and A New Old Play

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

By David Hudson

The Eyes That Fascinate

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.

By Lucy Sante

Mr. Klein: It’s All in the Name

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

By Ginette Vincendeau

Alex Garland’s Men

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

By David Hudson

John Waters and Cookie Mueller

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

By David Hudson

Did You See This?

“I’ll Die of Love”

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

By David Hudson

Women Filming for Their Lives

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

By David Hudson

Memories of a Vibrant Moment in Asian American Cinema

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.

San Francisco Silent Film Festival 2022

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

By David Hudson