A Family

Nov 18, 2016 — Artists across all mediums have long been obsessed with the challenge of evoking dream states, but film—with its oneiric combinations of light and shadow, and its ability to manipulate time and space—has particularly uncanny access to our nighttime reveries. Whether...

Nov 15, 2011 — The thematic ideas and inspirations that sparked Three Colors: Blue (1993), though typically ambitious in scope, seem sketchy when compared to the intense experience of watching this exquisite film. We know that Krzysztof Kieślowski’s Three Colors trilogy corresponds to the...

Nov 19, 2007 — In 2003, on the occasion of the Cinémathèque française’s complete retrospective of Ingmar Bergman’s work, ten filmmakers were invited to present one of his films that had a significant effect on them. Controversial French director Catherine Breillat (Fat Girl) selected...

Jan 16, 2007 — The marvel of Mouchette inheres in the elegance, obstinacy, and capaciousness of Bresson’s double-mindedness.

Jan 23, 2006 — Ingmar Bergman was enjoying one of the happiest spells of his life while making The Virgin Spring (1960). On a personal level, he was felicitously ensconced in his fourth marriage, to the concert pianist Käbi Laretei. And, professionally, he was...

Sep 18, 1995 — The global problem of domestic violence destroys families and, in a broader context, locks entire societies into a pathology of pain, distrust, and self-hate. When the basic building blocks of any society—the bonds between mother, father, children—are so grossly violated,...

Sep 28, 2021 — Melvin Van Peebles’s feature debut riffs on the French New Wave to tell a love story that portrays interracial intimacy and unflinchingly confronts the distortions of racism.

Jun 4, 2001 — Mad with images of nature in rebellion, Luis Buñuel’s 1964 film is a droll vision of Eden during the Fall starring a sumptuous Jeanne Moreau.

May 1, 2026 — A new month begins with a Visconti restoration, a new issue of Senses of Cinema, and a deep backgrounder on Backrooms.

Aug 19, 2025 — In his fifth and sixth feature films, Edward Yang sought to uncover what was hidden in Taipei society, often in plain sight, looking past the city’s shiny skyline to the fault lines beneath the surface.