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Apr 10, 1989 — Two years after The Horse’s Mouth director Ronald Neame cast Alec Guinness in this film, based on a book by James Kennaway.

The actor selects Italian-cinema favorites, talks about how being cast in Dazed and Confused changed his life, and shares his experience working with John Sayles on Lone Star.

When one movie just isn’t enough, check out one of these packed editions, each of which contains multiple films.

The actor praises the honest and vulnerable performances in John Schlesinger’s films, shares how Klute awakened her love for film noir, and talks about why she keeps returning to The Mother and the Whore.

One of the steamiest erotic thrillers ever made; a strikingly raw debut feature; a prescient ecofeminist parable; a moving tale of generational trauma and healing; a freewheeling showbiz drama; a crime thriller set in postwar Japan; and a loving snapshot...

The writer and director of Blue Heron shares how John Cassavetes inspired her own approach to independent filmmaking, praises The Watermelon Woman and Not a Pretty Picture as essential works of hybrid cinema, and talks about her personal connection to...

The critic and cowriter of Nightmare Alley explores the complexity of Gene Tierney’s femme fatale in Leave Her to Heaven, compares Adam Sandler and Paul Thomas Anderson’s work on Punch-Drunk Love to the collaboration of James Stewart and Alfred Hitchcock,...

Three indelible tales of Black urban life; a 1960s revenge thriller; a blockbuster biblical comedy; a glittering pre-Code jewel; the most sensual Hollywood noir; six woman-centered features from Japan; and a ravishing vision of a world where humans have forsaken...

The director of Cowboy Bebop shares his love for The Killing of a Chinese Bookie and how John Cassavetes blurred the line between fictional drama and realism, talks about what makes Branded to Kill a mesmerizing masterpiece, and finds inspiration...

The actor and director praises Black God, White Devil as one of the most important Brazilian films ever made, talks about the complex humanity of Il Posto, and reflects on why Jean-Pierre and Luc Dardenne are his favorite filmmakers.