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May 13, 2009 — Alexander Korda’s oeuvre is often characterized as larger-than-life, undoubtedly in part because the figures he was attracted to—kings and queens, legendary lovers and great artists—were often extraordinary.

May 3, 2009 — Though primarily a celebration of the best of today’s world cinema, the Cannes Film Festival has for some time now also been making room for the past, with its sidebar Cannes Classics. A program of restored and rediscovered films, Cannes...

Mar 16, 2009 — This long-underappreciated giant of Japanese cinema was an innovative visual stylist and a born storyteller who preferred to make films about outsiders.

Mar 14, 2009 — Many of us have fond memories of sunny weekend jaunts to the country. But how many can boast spending those outings with Francis Ford Coppola and Akira Kurosawa? Only Wim Wenders, whose hiccup-fraught trip to Coppola’s Napa Valley home in...

Feb 16, 2009 — Through the story of thunderously, wondrously henpecked men and a determined woman’s romantic zeal, David Lean’s comedy depicts private and social revolution.

Feb 9, 2009 — Luis Buñuel’s ferociously brilliant The Exterminating Angel (1962) is one of his most provocative and unforgettable works. In it, we watch a trivial breach of etiquette transform into the destruction of civilization. Not only does this story undermine our confidence...

Feb 3, 2009 — Luis Buñuel’s surrealist satire is the last film he made in Mexico, the last one in which he used Mexican actors, and most significantly the last one on which he worked with the great Mexican cinematographer Gabriel Figueroa.

Dec 16, 2008 — Science-fiction drama, western, love story, metaphysical mystery, and satire of modern America, Nicolas Roeg’s beguiling film established him as a mainstream heir to such 1960s experimentalists as Alain Resnais, Jean-Luc Godard, and Chris Marker.

Dec 3, 2008 — Gliding on silvery reels of steel, and tricked out with Lars von Trier’s panoply of visual effects, the film ravishes with its elaborately storyboarded tunnel vision.

Nov 27, 2008 — Despite Samuel Fuller’s career-long penchant for giving controversial subjects a punchy, exploitation-movie spin, his twenty-first feature was the first to suffer outright suppression.