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Best of the Best

Feb 1, 2011 — When Krzysztof Kieślowski’s The Double Life of Véronique was first screened at Cannes, in 1991, the critical reception was rapturous. Georgia Brown declared in the Village Voice, “Anything I say about [the film] is merely a labored minuet danced around...

Sep 22, 2008 — With their rotating casts of sourpuss Finns and their stringent compositions, Aki Kaurismäki’s films would seem the least likely candidates for laughs, yet his black-comic precision has made him one of the most warmly embraced filmmakers on the international art-house...

Jun 25, 2007 — Chris Marker’s masterpiece is a cinematic essay and travel film made up of asides and digressions that form a portrait of late twentieth-century civilization.

The Third Man

Essays

Nov 8, 1999 — In The Third Man—probably the greatest British thriller of the postwar era—director Carol Reed and screenwriter Graham Greene set a fable of moral corruption in a world of near-Byzantine visual complexity: the streets and ruins of occupied Vienna. It is...

Sep 1, 1992 — The evolution of Jason and the Argonauts began in the late 1950s, after the initial success of 20 Million Miles to Earth. Harryhausen and his producer, Charles Schneer, decided to get away from doing “monster-on-the-loose” stories and try something more...

A Theater Near You

The Daily

Jun 10, 2025 — At MoMA, curator David Schwartz celebrates seventeen landmark New York screening venues.

Jun 28, 2024 — Alain Guiraudie and Angela Schanelec discuss their new films, Albert Serra opens an exhibition, and Paul Schrader gets ranked.

Locarno Highlights

The Daily

Aug 1, 2023 — This year’s festival will premiere new work from Lav Diaz, Radu Jude, and Lucy Kerr and host conversations with Harmony Korine and Tsai Ming-liang.

Tribeca 2023

The Daily

Jun 7, 2023 — Here’s a quick guide to filmmaker profiles and critics’ recommendations.

Cannes 2023 Lineup

The Daily

Apr 13, 2023 — Martin Scorsese, Wes Anderson, Hirokazu Kore-eda, Nuri Bilge Ceylan, Alice Rohrwacher, Todd Haynes . . .

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