Self Song/Death Song

Jan 16, 2018 — The ravages of poverty in contemporary Britain are translated with vivid authenticity in this drama from celebrated filmmaker Ken Loach.

Jan 14, 2018 — Let’s begin with a round of interviews. In his latest “Streaming” column in the New York Times, Glenn Kenny talks with John Pierson about Split Screen, the television program that debuted on IFC back in 1997 and is now streaming...

Jan 12, 2018 — One of the greatest works of Cuban cinema returns for a theatrical run at New York City’s Film Forum this week.

Jan 10, 2018 — Before looking back on the highlights of his 2017 in an entry for Filmmaker, Vadim Rizov has a note or two on attending the recent New York Film Critics Circle awards dinner: The very concept of a critics’ award ceremony...

Jan 10, 2018 — The director of the war masterpiece Come and See got his start lampooning social conformity in 1960s Soviet life. Two of his early-career gems are now available on the Criterion Channel on FilmStruck.

Jan 7, 2018 — This past Christmas Eve, Jonas Mekas—filmmaker, poet, critic, co-founder of the journal Film Culture and New York’s Anthology Film Archives—turned ninety-five, certainly occasion enough for IndieWire’s Eric Kohn to get a few words with him. They discuss government support for...

Jan 7, 2018 — The updates to the entry on Paul Thomas Anderson’s Phantom Thread are still rolling in, and one of the most recent ones links to Sheila O'Malley’s cover article for the new issue of Film Comment. “Unlike other clichéd Great Men...

Jan 4, 2018 — Even as we look ahead to the films we’re hoping to see this year, there’s still some 2017 sorting to do. And let’s begin with Farran Smith Nehme’s refreshing list of some of the older films she caught last year....

Jan 3, 2018 — Ingmar Bergman was born on July 14, 1918, and exhibitions and film series celebrating the hundredth anniversary are already underway. Update, 1/5: Ingmar Bergman’s Cinema, a Janus Films retrospective of twenty-four works, will open at New York’s Film Forum on...

Jan 2, 2018 — New York. “Starting in the mid-1960s, Michelangelo Antonioni became what the German essayist Hans Magnus Enzensberger would call a ‘tourist of the revolution,’” writes J. Hoberman in the New York Times. “Antonioni left Italy to make Blow-Up (1966) in swinging...