The Conversation

Apr 3, 2012 — Lena Dunham talked to us about a series she just programmed of films that have inspired her.

Mar 1, 2012 — Louis Malle’s God’s Country is a remarkable account of one hamlet in the heartland of the United States—Glencoe, Minnesota—as seen first in 1979 and then again in 1985. Malle was fascinated by what he saw as a very American brand...

Aug 2, 2010 — The great, beloved screenwriter Suso Cecchi D’Amico died this past weekend at the age of ninety-six. A longtime collaborator of Luchino Visconti’s (they’re pictured together above), including on the epic The Leopard (1963), Cecchi D’Amico worked with just about every...

May 25, 2010 — Between 1952 and 2003, depending on how the various serial works are counted, Stan Brakhage made somewhere between 350 and 400 films, about half of them short film poems under ten minutes in length, most of the rest between ten...

Apr 21, 2010 — This piece originally appeared in La revue du son in December 1962, and was translated by Royal S. Brown for his 1972 book Focus on Godard. When Jean Collet submitted the article for the collection, he wrote that his remarks...

Jun 19, 2006 — Decades after its backyard birth, Jack Woods’s DIY horror movie has forged a model of inspiration for succeeding generations of effects artists and low-budget filmmakers.

Mar 14, 2005 — A director is naturally a man like everyone else. Yet his life isn’t normal. For us, seeing is a necessity. For a painter, too, the problem is to see. But while the painter has to discover a static reality, or...

Jan 17, 2005 — Jacques Becker’s genius is to focus resolutely on what comes before or after or falls in between the decisive actions: it’s a crime film where we learn how gangsters brush their teeth.

Apr 27, 2026 — During the evening rush on a busy Los Angeles boulevard, a man steps into a news-vendor’s stall and scans the out-of-town papers section, where journals offer balm for homesick travelers and transplants. But his hometown, Evanston, Illinois, is missing—no call...

Jun 11, 2024 — A radically strange, postmodern adaptation of a novel by Jean Genet, Rainer Werner Fassbinder’s final film is grounded by a sweaty, seething, meaty eroticism—a confrontational sexuality that remains bracing.