The Daily

The trippy, globe-hopping critical favorite from Locarno is now slated to screen in New York.

Few of Wang’s films contrast as starkly as Youth (Spring) and Man in Black, and both are set to screen in New York.

Warmly received in Venice, Cooper’s portrait of Leonard Bernstein and Felicia Montealegre now heads to festivals in New York, Zurich, London, Mill Valley, and Los Angeles.

Winners and runners-up include American Fiction, The Holdovers, Dicks: The Musical, and Dear Jessi.

This week features interviews with Martin Scorsese and Arturo Ripstein and appreciations of Tout va bien and Boris Karloff.

Male aggression threatens women’s lives in Kitty Green’s follow-up to The Assistant and Anna Kendrick’s debut feature.

Early reviewers find that, while the master of animation’s twelfth feature may be hard to follow, it’s impossible to resist.

Cord Jefferson’s American Fiction and Kristoffer Borgli’s Dream Scenario are received in Toronto with applause, laughter, and a few reservations.

The jury in Venice presented its top awards to Yorgos Lanthimos, Ryusuke Hamaguchi, Matteo Garrone, and Agnieszka Holland.

We’re celebrating Ousmane Sembène’s centennial, reading interviews with Ryusuke Hamaguchi and Kasi Lemmons, and watching soundies.

The festival launches new films by Wes Anderson, Richard Linklater, Harmony Korine, and Ibrahim Nash’at.

Poor Things and The Beast are critical favorites, Ferrari comes alive when the big race is on, and verdicts are split on The Killer.

Pablo Larraín’s Golden Lion contender and upcoming series in New York and Vienna mark the fiftieth anniversary of the Chilean coup d’état.

Stan Lee meets Alain Resnais, plus interviews with Molly Haskell, Babette Mangolte, and Manohla Dargis—and James Quandt on Jean Eustach

With the WGA and SAG-AFTRA strikes on, the spotlight this fall will be on the directors.

This week brings restorations of work by Kira Muratova, a personal story from Werner Herzog, and conversations with Kim Morgan and Dustin Guy Defa.

A new restoration of Roemer’s brisk and oddly endearing 1969 comedy screens in New York, Los Angeles, and Chicago.

This week we’re revisiting After Hours and other ’80s greats and the oeuvres of Yasuzo Masumura and François Truffaut.

As MINAMATA Mandala finally arrives in theaters, Anthology Film Archives presents a retrospective.

This month’s roundup spotlights summer blockbusters, historical perspectives, and dazzling costumes.

Defying pressure from Iran, Locarno didn’t just screen Ali Ahmadzadeh’s Critical Zone; the festival also gave it its top award.

Great as they are, there was a lot more to Hurricane Billy than The French Connection and The Exorcist.

Premiering in competition, Do Not Expect Too Much from the End of the World is an immediate critical favorite.

The BFI calls Saltburn, starring Barry Keoghan, “a beautifully wicked tale of privilege and desire.”