† A Man for All That

Jul 9, 2007 — Set almost entirely in a single house, Hiroshi Teshigahara’s eloquent collaboration with writer Kobo Abe shows both his powerful staging and his love of fine, almost microscopic, detail.

Apr 23, 2001 — A majestic synthesis of disparate forms, Sergei Eisenstein’s final film seems to be as much a ballet or a moving painting as it is a movie.

Jun 17, 2025 — Authors address overt and covert queer cinema, the avant-garde, and AI; plus notes on new collections and entire filmographies.

Jun 22, 2021 — The multi-hyphenate artist’s staggering and frequently autobiographical body of work reimagines the depiction of Black people in American culture, encouraging us to question everything we see.

May 19, 2021 — For the last twenty years—until the pandemic broke my streak—I drove each fall to spend a week at the Toronto International Film Festival (TIFF). Before making the trip, I took care to avoid reading anything about the subjects, characters, or...

May 26, 2020 — Richard Ford’s 1990 novel Wildlife begins with this arresting sentence: “In the fall of 1960, when I was sixteen and my father was for a time not working, my mother met a man named Warren Miller and fell in love...

Jul 25, 2019 — The festival will premiere new work from James Gray, Haifaa al-Mansour, Roy Andersson, Ciro Guerra, Costa-Gavras, Roman Polanski, and Olivier Assayas.

Jul 25, 2017 — Venice Days, “modeled on the prestigious Directors’ Fortnight of the Cannes Festival and promoted by the associations of Italian film directors and authors (Anac and 100autori),” has announced the lineup for its fourteenth edition, running from August 30 through September...

Jul 17, 2017 — “Steven Spielberg laid claim to the Normandy beach landing,” begins Variety’s Peter Debruge, “Clint Eastwood owns Iwo Jima, and now, Christopher Nolan has authored the definitive cinematic version of Dunkirk. Unlike those other battles, however, this last was not a...

May 5, 1998 — John Woo’s last film made in Hong Kong before his emigration to the U.S. reflects the city's anxieties and state of crisis throughout the decade.