Manok

May 29, 2012 — A watershed film in Bergman’s career, this tale of a woman caught between the past and present is a masterful study in darkness and light.

Jan 17, 2012 — At once a political epic and a radical gesture in personal filmmaking, Steven Soderbergh’s Traffic is an unexpected, unlikely triumph. It was a film that Hollywood didn’t want to make—every studio in town turned it down—that went on to secure...

May 16, 2011 — Among the most enduringly popular motives for murder, in films as in life, is the desire to remove an impediment to happiness—to get somebody, once and for all, out of the way. In life, of course, the goal of freeing...

Sep 22, 2010 — The Museum of Modern Art in New York has announced the lineup of its eighth annual To Save and Project, an international festival of film preservation. This year’s program features more than thirty-five titles from thirteen countries and runs from...

Sep 17, 2010 — This has been a luminous year for the world-renowned Toronto International Film Festival, now in its thirty-fifth edition—and not only because of the high quality of the films. When the ten-day event began, buzz was already in the air about...

Feb 24, 2009 — On January 12, French cinema lost one of its truest enablers. Claude Berri was as well-known for his support of cinema, both financial and critical, as he was for his own filmmaking. The actor turned director-writer-producer made twenty-three films (the...

Jun 11, 2007 — Claude Berri’s witty comedy-drama depicts Nazi sympathizers with three-dimensional candor, neither whitewashing nor apologizing for their misguided ideas.

Feb 12, 2007 — In this classical whodunit made just after the close of World War II, swirling sexual frustrations and resentments find expression in a series of apparently motiveless murders.

Oct 24, 2005 — The hero in Masahiro Shinoda’s popular samurai movie is both a genre figure and an ordinary character, both killer and savior, both larger than life and lost in the mists.

Feb 2, 2004 — A story about defeat and failure, Robert Bresson’s masterpiece is a milestone in the slow process of the liberation of postwar French cinema