We Own the Night

Dec 13, 2013 — Metin Erksan’s shocking and sensuous tale of greed and rural life was part of a vibrant Turkish cinema of the fifties and sixties.

Aug 27, 2013 — Ernst Lubitsch’s World War II–era high-wire act is a profound take on the absurdity cruelty of civilization and a perfect black comedy to boot.

Jan 11, 2011 — His most personal film as well as the final one to deal with the German occupation of France, Jean-Pierre Melville’s thriller showcases human consciousness grappling with mortality.

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.”

Sep 29, 2003 — “Gray literature” is the term German film historians use to describe the material written purely for publicity purposes and made available to the press, but not meant for official publication. Often this gray literature, which is only accessible to film...

Jun 24, 2020 — It was audiences, not critics, that made hits out of such movies as St. Elmo’s Fire (1985), Batman Forever (1995), and Phone Booth (2002).

Dec 3, 2019 — As the title card comes up, the movie has already begun, with a frontal view of a dilapidated plantation house, its ivied columns sporadically lit up by a raging storm. Spectators at the time of the film’s release who were...

Apr 16, 2018 — From Éditions Matière comes Contrebandes Godard 1960-1968, a collection of promotional materials inspired by comics and the Situationists for the films Godard made during those years, unpublished since but now gathered and commented on by Pierre Pinchon, who teaches at...

Jun 6, 2017 — Once again, we open an entry with a tip from Catherine Grant, the new twelfth issue of Cine-Files, a special commemorative issue “dedicated to the films and artistic legacy of Jacques Rivette and Chris Marker.” Editor Mary Wiles: “Both directors,...

Feb 20, 2017 — Joan Crawford delivers one of her greatest performances in Michael Curtiz’s unsparing look at class, ambition, and the all-consuming intensity of maternal love.