So Can I

Nov 16, 2006 — At the Museum of the Moving Image tonight, Peter Cowie is presenting his new book on Louise Brooks, Lulu Forever, and they are digitally screening our new Pandora's Box restoration with the Gillian Anderson score. I don’t think I’ve ever...

Feb 10, 2003 — The poet Paul Eluard says that to understand my film version of Beauty and the Beast, you must love your dog more than your car. Ordinarily, I would settle for that. However, with so much being written about the film...

Nov 11, 2002 — Continued from Anatomy of a Love Festival - Part One The real turn-on, though, was the music—twenty-two hours of it, divided into solid chunks that usually ran more than thirty minutes. Friday night was the epitome of what San Francisco...

Dec 31, 2000 — Those who felt that Scandinavian cinema had passed into retirement along with Ingmar Bergman should be startled by Insomnia. This immaculately constructed psychological thriller sets a benchmark for other Scandinavian directors to match, and is one of the most unusual...

Nov 12, 2021 — First Person At the end of February of 2020, I watched The Gleaners and I with my boyfriend at BAM. It was, I thought, an ordinary day. We bought tickets in advance because we knew the small theater’s screenings always...

Jul 9, 2001 — Director Bruce Robinson reminisces about the days that inspired his uproarious black comedy.

May 26, 2026 — Women’s hands dance over typewriter keys. The percussive racket they make, like the tapping of an unruly chorus line, takes the place of music during the opening credits of The Office Wife (1930), which appear over a montage of female...

Apr 10, 2026 — Jia Zhang-Ke and Steven Soderbergh experiment with AI, plus: Jim Jarmusch, Tina Aumont, and Elvira Notari.

Nov 18, 2025 — A pre-Code aviation epic that makes pioneering use of the era’s innovations in cinematic color and sound, Howard Hughes’s directorial debut was Hollywood’s first modern portrait of World War I.

Oct 28, 2025 — An adaptation of a classic pulp novel by William Lindsay Gresham, Guillermo del Toro’s first foray into film noir is an intensely evocative exploration of how human impulses can give rise to monsters.