Days

Feb 27, 2018 — “Orson Welles, a boy from Kenosha, Wisconsin, was one of the most audacious Shakespearians who ever lived,” writes Robert Horton. “He recited soliloquies as a child, wrote a book on the plays as a teenager, and at age seventeen roamed...

Feb 27, 2018 — Director Tony Richardson refracts the bawdy spirit of the 1960s through this brilliantly distilled take on an eighteenth-century picaresque.

Feb 26, 2018 — The new Spring 2018 of Cineaste is out, and online, we find just a few previews of what’s inside, but a whole lot of web exclusives. “The Nixon presidency? Suddenly, it seems almost quaint,” writes Jonathan Kirshner. “But it was...

Feb 24, 2018 — Starting yesterday, and on through Wednesday, Anthology Film Archives in New York is presenting a series curated by Steve Erickson, Documentary, Iranian Style: The Films of Mehrdad Oskouei. “It’s about as essential a film series as I can imagine,” writes...

Feb 23, 2018 — “Eighteen years young and still eagerly nudging audiences toward discovery, Film Comment Selects is a film series as pointed act of correction,” writes Ed Gonzalez at the top of his overview in the Village Voice of the series opening today...

Feb 19, 2018 — Jonathan Demme put an uncompromisingly feminist spin on the law-enforcement procedural with this wildly successful, Oscar-winning drama.

Feb 18, 2018 — Christian Petzold seems to realize that viewers are going to feel as if they’ll need a few moments to get their bearings in the world of Transit. In one swift and brilliant stroke, he denies us the luxury. Georg (Franz...

Feb 16, 2018 — “The responsibility of being a gay film critic,” writes Michael Koresky, “to borrow a phrase from the great Robin Wood, is to be honest about your responses as an individualized viewer, and to balance questions around identity with a film’s...

Feb 13, 2018 — With the scrappiest of means, George A. Romero created not only a landmark of independent cinema but also an indelible portrait of America as hellscape.

Feb 12, 2018 — In “Twin Peaks: The Return, or What Isn’t Cinema?,” a four-part essay at Reverse Shot, Nick Pinkerton first stakes out a position. Referring to one of Marcel Duchamp’s most famous pieces, he writes: “For a hundred years now it’s been...