War

Aug 24, 2015 — As part of a wide-ranging new interview for New York magazine, über-cinephile and genre master Quentin Tarantino reflects thoughtfully on the western’s mutable qualities and how it has always revealed something about its times: “The westerns of the ’50s reflected...

Aug 3, 2015 — On film noir’s unparalleled roster of resonant titles—Kiss of Death, Out of the Past, and Where Danger Lives, to name three—none is more emblematic or iconographically cogent than Night and the City. Juxtaposing two of noir’s essential, virtually ontological qualities,...

Jul 27, 2015 — When Hiroshima mon amour, directed by Alain Resnais and written by Marguerite Duras, was released in 1959, it sent shock waves through the film world. It was clear, even from its first frames, that this modernist masterpiece was inventing a...

Jul 23, 2015 — The composer is credited with scoring eleven films for Bergman—among them Smiles of a Summer Night (1955), Wild Strawberries (1957), and The Magician (1958)—the last being The Virgin Spring (1960), with its evocative use of medieval instruments.

Jul 22, 2015 — Stephen Frears brings a playful and shimmering cinematic quality to Hanif Kureishi’s multilayered script about a Pakistani immigrant community in Margaret Thatcher–era London.

Jul 17, 2015 — As visually and sociopolitically expansive as it is intimate in its details of a boy’s coming of age, Jan Troell’s film is one of the great cinematic debuts.

Jul 14, 2015 — Carroll Ballard’s film is a work of rapture, a mesmerizing adventure that envelops the viewer in the beauties of the natural world.

Jul 13, 2015 — “I think that in a few years, in ten, in twenty, or thirty years, we shall know whether Hiroshima mon amour was the most important film since the war, the first modern film of sound cinema.” That was Eric Rohmer,...

Jun 4, 2015 — Rainer Werner Fassbinder stocked the cast of The Merchant of Four Seasons with friends and colleagues from his experimental theater days.

May 29, 2015 — A shocking chapter of Soviet Czechoslovakian history is dramatized in Costa-Gavras’s controversial follow-up to Z.