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Out of My Mind

Apr 23, 2001 In 1955, Jules Dassin, an American director in exile in Paris, made this flat-out perfect piece of cinema. The film came as a redemption for Dassin: a one-time promising young director cranking out B-movies under an MGM contract ("They were...

Jan 2, 2017 With the debut of Me and You and Everyone We Know on the Criterion Channel, the acclaimed multi-hyphenate discusses her evolving creative process and her love of Jane Campion.

Jun 19, 2013 Disorienting, brutal, and bloody beautiful, František Vláčil’s epic is a dark medieval vision teeming with cinematic invention.

Feb 26, 2021 First Person When I was eight years old, I discovered what it meant to be of two minds. I didn’t discover this in any intellectual way; this was brought to bear on me in 1973 because that’s the year my...

Oct 16, 2020 First Person One of the internet’s more delightful creations is a compilation of Aaron Sorkin quotes assembled by a man named Kevin Porter in 2012. Its purpose is to expose the screenwriter’s propensity for repetition. Some of the examples, plucked...

Mar 12, 2019 By dint of perseverance, Harold Lloyd, the modest son of Burchard, Nebraska, became the prince of Hollywood, California, where he lived the Horatio Alger dream. His life and his memorable films alike echo Alger’s theme of young men who apply...

Mar 5, 2018 Along with 132 short films and a slew of masterclasses, installations, discussions, and other events, the Berlin International Film Festival presented 253 features this year. I managed to catch twenty-seven of them, and Adina Pintilie’s Touch Me Not, winner of...

Jul 17, 2017 “Martin Landau, the tall, intense, sometimes mischievously sinister actor best known for his role in the television series Mission: Impossible and his Oscar-winning portrayal of Bela Lugosi in the film Ed Wood, died Saturday in Los Angeles,” reports Anita Gates...

Nov 11, 2013 A boldly silent film in the talkie era, Charlie Chaplin’s masterpiece has a grace that has never been equaled.

Dec 6, 2022 Known for their austerity and shocking moments of violence, the Austrian director’s first three films cultivate a kind of humanism in their dogged refusal to coddle the viewer.

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