The Criterion Collection
Jun 12, 2017 — Informed by his work in theater and his travels through rural America, Nicholas Ray brought an outsider’s perspective to genre filmmaking in his debut feature.
The Daily
Jun 8, 2017 — When we think of American cinema in the 1970s, it’s the “New Hollywood” that first comes to mind, landmark films such as The Godfather and Taxi Driver, Nashville and Chinatown. In his new book, Opening Wednesday at a Theater or...
The Daily
Jun 7, 2017 — With revivals of Japanese films being presented in the coming days in New York, Chicago, Berlin, Cologne, and Vienna, a quick reminder: As noted yesterday, the lineups for the New York Asian Film Festival (June 30 through July 13) and...
Jun 7, 2017 — The Spanish filmmaker, whose short film Mystery is featured on the Criterion Channel, discusses his love for Luis Buñuel and the influence of Catholicism on his worldview.
The Daily
Jun 5, 2017 — Catherine Grant points us to the new issue of the open access journal Film-Philosophy. Before we begin paging through it, let’s have a look at a piece by Benjamin Crais which the Notebook ran last December:For Anglophone readers, Jean Louis...
Jun 5, 2017 — Known for playing sexy noir toughs, Ralph Meeker underwent a startling transformation as the anguished, slovenly male lead in Jack Garfein’s psychological drama.
The Daily
May 31, 2017 — New York. The BAMcinématek series Varda in California opens today and runs through June 13. The New Yorker’s Richard Brody recommends Lions Love (. . . and Lies) (1969): “Filming this docu-fiction in Los Angeles in June, 1968, the week...
May 31, 2017 — Long difficult to see, this transgressive silent masterpiece draws on a wide range of aesthetic influences to push against the boundaries of film form.
May 30, 2017 — In his brilliantly inscrutable debut, Apichatpong Weerasethakul blends documentary authenticity with wild flights of imagination.
May 27, 2017 — “When French writer Delphine le Vigan published her book Based on a True Story in 2015, some critics dubbed it ‘a Hitchcockian novel,’” begins Jonathan Romney, writing for Screen. “It’s not surprising, then, that Roman Polanski’s adaptation is very Hitchcockian...