Best in Show

Dec 20, 2019 — This week we’re spotlighting directors’ and writers’ appreciations of other directors and writers, plus Céline Sciamma and Agnès Varda.

Nov 29, 2019 — Since its debut in 2003, the online film publication Reverse Shot has found playful and provocative ways of blurring the boundaries between presumed opposites. With their tradition of symposiums—collections of newly commissioned essays on various topics and questions in film...

Aug 5, 2019 — At the San Francisco Silent Film Festival you can expect to see many great, even perfect, treasures of cinema, popular classics, and critical favorites. At the age of twenty-four, the event has become increasingly central to the silent cinema calendar—one...

Jul 1, 2019 — Truffaut, Melville, and Jean Epstein open this month’s round of reviews and discussions of the latest noteworthy publications.

Sep 12, 2018 — Both Sunset and Our Time have their champions and detractors.

Jun 11, 2018 — Building on a rich lineage of gothic fairy tales and noirish melodramas, this lavishly stylized curio has an ominous beauty all its own.

Dec 19, 2017 — Following the first rounds up titles slated for the Panorama and Competition programs, the Berlin International Film Festival now presents sixteen titles lined up for Generation, its section for younger viewers. This time around, we have descriptions from the Berlinale.Generation 14plus303, directed by Hans Weingartner. World premiere. 303 tells...

Dec 7, 2017 — “After mining the American soul (Boogie Nights, There Will Be Blood, The Master) as brilliantly as any working director has in the last fifty years,” begins Robert Abele at TheWrap, “Paul Thomas Anderson moves to 1950’s England for Phantom Thread,...

Nov 20, 2017 — World of Tomorrow Episode Two: The Burden of Other People’s Thoughts is headed to Dallas, Austin, New York, San Francisco, and Los Angeles. Don Hertzfeldt’s tweeted dates and links. New York. Aleksandr Sokurov’s Days of Eclipse (1988), “like Stalker, brews...

Mar 6, 2017 — To commemorate the anniversary of the late Polish master’s birth this week, critic Michał Oleszczyk pays tribute to his mercurial style, urgent political themes, and sly evasion of the censors.