The latest issue of Senses of Cinema looks back fifty years to reflect on films that captured the cultural and political tumult of 1967.
If you’re in the mood for another flashback, Little White Lies has you covered with its list of the 100 best films of the nineties, which includes A Brighter Summer Day, The Player,Breaking the Waves,Close-up, and Slacker.
Jack Harris, the producer behind such cult classics as The Blob and Equinox, passed away this week at the age of ninety-eight.
Exciting news for Orson Welles lovers: thanks to Netflix, the much-delayed effort to complete the director’s unfinished final work, The Other Side of the Wind, has been revived.
Another Hollywood master, revered “woman’s director” George Cukor, is the subject of a new video essay that salutes some of his most dynamic leading ladies.
Need sartorial inspiration for the weekend? Over at Elle, twelve film and TV costume designers discuss their favorite on-screen looks.
For more on classic movie wardrobes, read Celia Reyer on glamour in the 1930s, when American cinema was at the center of the fashion universe.
Film scholar David Bordwell also explores golden-age Hollywood in an upcoming book, which he teased this week over on his blog.
The New Yorker’s Richard Brody explains how Thomas White’s newly restored 1966 film Who’s Crazy? achieves “a kind of total cinematic music” with the help of a soundtrack by jazz luminary Ornette Coleman.
Argentine filmmaker Lucrecia Martel shares details on her new comeback film, Zama, which she describes as a “representation of the past that wouldn’t tie in with the way history is depicted in America.”
“Aww, how sweet! Both sisters seemed very fond of one another. I'm amazed by how modern Dorleac looks in this clip. It's a shame she was killed tragically young in that car crash. We never got to . . .”