Get On Up

Jan 18, 2022 — Garrett Bradley warped the clock. In her masterwork Time (2020), the present is the past is the future—which is to say, the lie of linearity gets emptied. Virginia Woolf comes up, when I think of artists who have comparably seized...

Dec 13, 2021 — When Jessica Beshir embarked on making her debut feature more than a decade ago, she realized she was going to have to get comfortable with the unfamiliar and unknown. Not only did the Mexico-born, Brooklyn-based filmmaker have to learn how...

Nov 10, 2021 — Over time, the former child star learned to love his work.

Sep 9, 2021 — Critics find Kristen Stewart to be “both such a counterintuitive and oddly apt choice” for the role of Diana, Princess of Wales.

Jul 19, 2021 — When Dennis Lehane joked in 2011 that the only real difference between Greek tragedy and noir was that in the former characters fall from great heights and in the latter they drop from the curb, he was pinpointing something simultaneously...

Jul 13, 2021 — Miles: I just sold a building on the Lower East Side and tripled my money Molly: There’s a lot of that happening these days. Released the year before Oliver Stone’s Wall Street (1987), Working Girls, a film about sex work, is a sharper by far...

Apr 30, 2021 — One Scene Shatara Michelle Ford could not have made their first film without their filmmaking community, in addition to the sustained support and encouragement from members of their chosen family. Test Pattern—which is now available on Kino Now and Kino...

Apr 16, 2021 — Few motifs in Indian cinema are as potent, as laden with history and meaning, as the train. In 1955’s Pather Panchali, Satyajit Ray immortalized the railways as the symbol of an alienating modernity in a newly independent India; in a...

Jan 26, 2021 — Larisa Shepitko was born in eastern Ukraine in 1938. Her mother was a schoolteacher; her father, who left the family, fought in World War II. Her mother raised her and her two siblings on her own, and the moment Larisa...

Nov 25, 2020 — “Yes, life is a dream, but sometimes that dream is a fatal abyss.” Wanda in The White Sheik (1952) I have a vivid memory from the first film-studies class I enrolled in, a class on Italian neorealism, where the weekly...