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The Word

Dec 18, 2017 The new Winter 2017 issue of Cineaste is out and the highlight of what’s online would have to be the interviews, four complete “Web Exclusives.” Dennis West and Joan M. West talk with documentarian Pamela Yates about completing her Guatemalan...

Nov 1, 2017 “If you go to a single production this season, make it this one.” That’s Anthony Tommasini, chief music critic for the New York Times, enthusiastically recommending Thomas Adès’s The Exterminating Angel, an opera inspired by Luis Buñuel’s 1962 film and...

Sep 21, 2017 The editors of Senses of Cinema open Issue 84 with a “near exhaustive dossier” on Christian Petzold and a second entitled “Sartre at the Movies.” Here, “one of the world’s foremost scholars of French cinema, Dudley Andrew, explores the ideas...

May 21, 2017 “Neo-realism isn’t necessarily a genre built for star turns,” writes Guy Lodge for Variety, “but director Jonas Carpignano happened upon one anyway in his debut Mediterranea: Then-preteen Pio Amato wasn’t the lead in that accomplished, affecting refugee drama, but his...

Nov 15, 2016 Akira Kurosawa lays bare his deepest fears in this visually astonishing interpretation of folklore, myth, and the director’s own dreams and memories.

Aug 17, 2015 François Truffaut’s love letter to the movies is a lightheartedly self-reflexive symphony of camera movement and musical flourish.

Dec 11, 2012 Philip Glass’s experimental operas and symphonic works of the 1960s and ’70s laid the groundwork for his hypnotic Qatsi scores.

Aug 14, 2006 In terms of consistency of both the content and form of his films, Eric Rohmer is without a doubt one of the most distinctive auteurs in the history of cinema. As with the work of Yasujiro Ozu, within min­utes—seconds, even—of...

Jan 28, 1991 The following review, one of the most renowned in the history of film criticism, appeared in The New Yorker magazine on October 28, 1972. It is reprinted with the permission of the author, Pauline Kael. Bernardo Bertolucci’s Last Tango in...

Nov 26, 2024 In this tragicomic road movie about a Bible-selling con man and his precocious young charge, Peter Bogdanovich brings Depression-era America to vivid life without sentimentality or nostalgia.

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