The Criterion Collection
May 11, 2021 — Dorothy Arzner’s deeply cynical portrait of marriage exemplifies the director’s ambivalence toward the norms dictating female behavior, wielding ironic detachment to mask one woman’s simmering inner turmoil.
Features
May 27, 2020 — Walking, like breathing, is something we do without thinking, an activity so commonplace that pedestrian has as its second meaning uninspired, ordinary, dull. Movies, however, reveal this action as more than just the original mode of getting from here to...
The Daily
Sep 6, 2019 — In Nang, young writers celebrate Asian cinema in honor of Alexis Tioseco and Nika Bohinc, and new issues of other titles offer fresh reviews and interviews.
The Daily
Jul 19, 2018 — Damien Chazelle’s First Man will open Venice, and Alfonso Cuarón’s Roma will be the NYFF’s Centerpiece presentation.
The Daily
Jan 24, 2018 — The forty-seventh edition of the International Film Festival Rotterdam opens today and runs through February 4. Over a month ago now, we started tracking the lineup, which the IFFR unveiled bit by bit every few days, culminating with the publication...
The Daily
Jan 1, 2018 — One of the most intriguing films we can look forward to in the new year is Claire Denis’s English-language debut, High Life. “I’ve always been interested in science, in astrophysics,” Denis told the Hollywood Reporter’s Scott Roxborough in November. “But...
The Daily
May 22, 2017 — “Michael Haneke is back to many of his old tricks in Happy End, which enfolds the child psychopathy of Benny’s Video, the bourgeois nightmare of Hidden, the euthanasia theme of Amour, and the racial discomfort of Code Unknown into a...
Essays
May 13, 2013 — Delmer Daves’s visually majestic, emotionally charged western finds its drama in the decency of its characters.
Essays
Jan 8, 2013 — The two movies that opened the door to “youth culture” in Hollywood, The Graduate and Easy Rider, were milestones, to be sure. But can it really be said that they were milestones in the art of cinema? “I think The...
Essays
Sep 26, 2011 — Toward the end of Olivier Assayas's Carlos, a young French diplomat's wife goes to answer the door of their flat in Beirut and is greeted by a huge bunch of flowers—which immediately disappears to reveal a gun that shoots her...