These Three

Mar 24, 2016 — With Edward Yang’s A Brighter Summer Day finally available in the U.S., screenwriter Hung Hung talks about his working relationship with Yang, the film’s truncated distribution and slow path to acclaim, and the real-life roots of its narrative.

Mar 21, 2016 — Edward Yang’s masterful 1991 adolescent epic telegraphs the tensions and turbulence of 1960s Taiwan, when youth pop culture and teen street gangs became a major societal force.

Mar 18, 2016 — The French filmmaker discussed revisiting the world of his breakthrough feature, his desire to communicate with a younger generation, and his signature cinematic flourishes.

Mar 15, 2016 — Set during the height of McCarthy-era paranoia and arriving in 1962, in the middle of the Cuban Missile Crisis, John Frankenheimer’s high-anxiety Communist conspiracy thriller tapped into the darkest fears of Cold War America.

Mar 11, 2016 — Valley of Love (2015), dir. Guillaume Nicloux “Filmmaking is a collective assemblage of desires,” said Isabelle Huppert when we sat down to talk on a recent morning. We were speaking about how she picks her roles, and how her own intuition...

Mar 8, 2016 — Paris Belongs to Us marked the genesis of Jacques Rivette’s unique filmmaking style—introducing visual and narrative elements that Rivette would build on over the course of his long career.

Mar 4, 2016 — Over the past half century, production designer Jack Fisk has created some of cinema’s most memorable on-screen worlds—from the farmlands of early-twentieth-century Texas to the byways of contemporary Los Angeles.

Feb 26, 2016 — Restoration SpotlightWith the Academy Awards coming up on Sunday, we’re celebrating the breathtaking work of cinematographer Emmanuel Lubezki, who is nominated this year for his work on Alejandro González Iñárritu’s The Revenant. If he wins, Lubezki will be one of...

Feb 23, 2016 — Without any overt topical references, Mike Nichols’s The Graduate captured the zeitgeist of the 1960s and the dawning countercultural revolution.

Feb 18, 2016 — The Kid marked Charlie Chaplin’s wholehearted embrace of sentiment, which he intertwined with the slapstick he was known for to enrich his Tramp character and carry the narrative of feature-length directorial debut.