And at Last

May 17, 2022 — Juzo Itami’s tragicomic directorial debut has scandalous fun with the Japanese traditions governing death.

Apr 26, 2022 — In the opening moments of Arie and Chuko Esiri’s Eyimofe (This Is My Desire) (2020), we first hear—the ceaseless hum of machines at work—and then see: a jumble of multicolored wires. The 16 mm film image is grainy, trembling ever...

Apr 22, 2022 — Over my forty-plus years at Janus and Criterion, few films have meant more to me than For All Mankind, because of my lifelong passion for space travel. I remember being a second-semester freshman and registering for Astronomy 101. It was...

Mar 29, 2022 — About half an hour into love jones, Theodore Witcher’s romance from 1997 starring Larenz Tate and Nia Long, the two main characters amble along a Chicago block as raindrops fall, soft but insistent. The colors are warm, naturalistic—browns, mauves, and...

Mar 22, 2022 — In Robert Aldrich’s epic disaster film, James Stewart leads a pack of temperamentally different men as they struggle to survive in the face of the unknown—a template that would go on to influence Hollywood blockbusters for decades to come.

Mar 15, 2022 — The story of queerness in American cinema isn’t complete without the unusual case of These Three (1936) and The Children’s Hour (1961). Both films are based on Lillian Hellman’s 1934 play The Children’s Hour, inspired by an incident in which...

Mar 14, 2022 — The Power of the Dog is now the clear frontrunner in this year’s Oscar race.

Mar 8, 2022 — A parable of wayward women in a world without mothers, Márta Mészáros’s 1975 feature catapulted the Hungarian auteur to international prominence.

Feb 22, 2022 — The fourth feature by the Hong Kong filmmaker Ann Hui devastatingly lays bare the conditions that spurred hundreds of thousands of Vietnamese to flee after the fall of Saigon.

Jan 31, 2022 — What have the critics been saying about this year’s winners?