The Woman Who Left

Sep 25, 2024 — At a time when women were understood to be the primary audience for movies, Hollywood studios built vehicles for actresses that doubled as showcases for the industry’s many brilliant female screenwriters.

Sep 20, 2024 — With their virtuosic celebrations of death, giallo films reflect the air of paranoia and fear that haunted Italian society in the 1960s and ’70s, a period when the country was undergoing dramatic, violent changes.

Apr 25, 2023 — The festival adds thirteen features and a new short film by Pedro Costa.

Nov 2, 2021 — Federico Fellini’s earliest masterpiece is a story of despair and optimism, cruelty and salvation, that occasioned the director’s ascent to stardom.

Nov 30, 2020 — Channel Calendars As the year draws to an end, we’re turning our gaze toward things to come, with an international, intergalactic program of Afrofuturist visions of Black creativity, resistance, and freedom. That’s just the beginning of our holiday bounty: we’ve...

May 29, 2019 — Once again, Lav Diaz and Takashi Miike did what they do; but the Fortnight also showcased a wide range of promising talent.

Mar 22, 2017 — A tragedian at heart, Shirley Stoler found her Medea in the role of a glowering bandit on the run in Leonard Kastle’s seedy true-crime drama.

Aug 24, 2010 — T he Docks of New York is one of those orphaned silents, released in 1928, the very end of the era. Apparently, it was previewed the same week as Al Jolson’s The Singing Fool, his first “all-talking” picture, the follow-up...

Jul 19, 2010 — “It is the most erotic film that I have ever made,” wrote Michael Powell of Black Narcissus. “It is all done by suggestion, but eroticism is in every frame and image, from the beginning to the end.”

Mar 16, 2007 — The first of his films to be shown outside Japan, Ichikawa Kon’s twenty-seventh feature dramatically raised the director’s profile.