The Joy and Pain of One Good Meal in Bicycle Thieves
The great Chinese filmmaker Jia Zhangke recalls what his first encounters with Vittorio De Sica’s masterpiece taught him about the possibilities of cinematic realism.
The Funny Man with the Pardon: Billy Gilbert in His Girl Friday
The famously blustery comedy veteran transforms into a hilariously timid messenger in Howard Hawks’s fast-talking screwball masterpiece.
Uriah Heep Brings a Touch of the Uncool to Cold Water
With its irresistible momentum and sonic crunch, “Easy Livin’” occupies a special place in one of the most celebrated sequences in Olivier Assayas’s filmography.
How The Qatsi Trilogy Gave RaMell Ross a New Way of Seeing
The Oscar-nominated director of Hale County This Morning, This Evening finds an expansive political vision in the mind-altering work of Godfrey Reggio.
Too Close for Comfort: Theresa Russell in Bad Timing
A true acting iconoclast, Theresa Russell unleashes a torrent of emotion in this tale of sexual obsession, her first collaboration with the director Nicolas Roeg.
Morgan Neville Goes Through the Looking Glass with F for Fake
The Oscar-winning documentary filmmaker unpacks the wild inventiveness of Orson Welles and the late-career masterpiece that inspired his own approach to his new movie They’ll Love Me When I’m Dead.
Least Wanted—Film Noir’s Character Actors: Wallace Ford
A haven for aging Hollywood actors, film noir had plenty of room for performers like Wallace Ford, who brought a hard-scrabble energy to the roles of has-beens and losers.
“Don’t You (Forget About Me)” Captures the Ache of Fleeting Friendships
The Scottish band Simple Minds took the Breakfast Club theme song to the top of the charts. But its success—and its plea for loyalty—couldn’t save the group from its ultimate demise.
What They Found: Our Contributors Share Their 2018 Discoveries
Oddities, rarities, and repertory discoveries . . . some of our favorite writers and artists share their film revelations of the past year.
The Birth of a Quiet Radical: John M. Stahl’s Silent Films
Long thought lost or unavailable, John M. Stahl’s early films highlight his mastery of melodrama, combining elegant framing with explosive emotions and a commitment to exploring women’s experience.
From Folk Ditty to Rally Anthem: Nashville’s “It Don’t Worry Me”
Performed by the late Barbara Harris, the final song in Robert Altman’s masterpiece is a provocative mix of genres and conflicting cultural resonances.
The Many Sides of James Agee
In honor of his birthday this week, four of our favorite writers—Michael Sragow, Charles Maland, Farran Smith Nehme, and Geoffrey O’Brien—take a close look at the style and influence of a great American movie critic.
Margarethe von Trotta Found Her Cinema Gateway in The Seventh Seal
The great German director reflects on her first experience with Ingmar Bergman’s classic meditation on mortality, a film that opened her eyes to the possibilities of cinema.
Least Wanted—Film Noir’s Character Actors: Thelma Ritter
Supporting roles bring potent flavor to classic Hollywood’s darkest genre. In the first installment of a series, Imogen Sara Smith pays tribute to the queen of character actors: Thelma Ritter.
Marianne Faithfull Brings on the Heartbreak in Made in U.S.A
With her a capella take on the Rolling Stones’ “As Tears Go By,” the singer turns a brief moment in one of Godard’s most playful films into a reflection on loss.
What Damien Chazelle Learned from Maurice Pialat’s Stumbled-Upon Cinema
The Oscar-winning director of La La Land explains how an early encounter with À nos amours taught him to mix spontaneity and surprise into his own highly stylized worlds.
Less Is More: Kristen Stewart in Clouds of Sils Maria
No one has utilized the actress’s elusive minimalism and artful underplaying to more brilliantly complicated effect than French director Olivier Assayas.
The Heat of the Moment: Ten Minutes That Capture the Revolution of 1968
A breathtaking, rarely screened vérité document encapsulates the social and aesthetic sea change that transformed France in the spring of 1968.
Joachim Trier Grapples with the Fractured Time of Don’t Look Now
The acclaimed Norwegian filmmaker talks about Nicolas Roeg’s richly suggestive, nonlinear approach to time in his masterpiece Don't Look Now.