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Prince and the N.P.G.: Diamonds and Pearls Video Collection

May 15, 2000 Twenty-five years after its first appearance, Bergman’s film of The Magic Flute remains the finest screen version of an opera ever produced. Shot in sumptuous color by Sven Nykvist, and featuring some of the finest Nordic singers of the day,...

Sep 29, 2017 During this month’s Toronto International Film Festival, we began seeing reviews and interviews that would eventually make their way into the new issue of Cinema Scope: Adam Nayman’s conversation with Denis Côté about A Skin So Soft, for example, and...

Apr 24, 2000 “Most of Aesop’s fables have many different levels and meanings. There are those who make myths of them by choosing some feature that fits in well with the fable. But for most of the fables this is only the first...

Jun 29, 2010 Giuseppe di Lampedusa’s novel The Leopard had a hard time finding a publisher but was well-known by the time Luchino Visconti began working on his film of the same name. The book appeared in Italy in 1958 and was subsequently...

Apr 18, 2025 Barry Jenkins interviews Charles Burnett, Céline Sciamma discusses Chantal Akerman—and more.

Jun 13, 2023 The star of Miloš Forman’s Hair, Sidney Lumet’s Prince of the City, and Joyce Chopra’s Smooth Talk was seventy-one.

Nov 28, 2017 Ahead of the Christmas Day opening, preview screenings of Paul Thomas Anderson’s Phantom Thread in New York and Los Angeles began over the weekend and will continue through Thursday. Variety’s Kristopher Tapley suggests that “if you define a film as...

Jul 18, 2017 During a period of personal turmoil, Andrei Tarkovsky created this enigmatic masterpiece, which explores spiritual and metaphysical mysteries through the prism of a science-fiction epic.

Jul 18, 2011 Out of the extravagant variety of Jean Cocteau’s work—the paintings and drawings, the poems, the plays and novels and memoirs, the opera librettos and ballet scenarios—it is likely his films that will have the most enduring influence, and among those,...

Jul 29, 2024 Made in an era when self-consciously postmodern takes on the Bard were popular, Gus Van Sant’s melancholy road movie mines the ambiguously queer tensions in the history play Henry IV.

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