[REC]

May 26, 2026 — Women’s hands dance over typewriter keys. The percussive racket they make, like the tapping of an unruly chorus line, takes the place of music during the opening credits of The Office Wife (1930), which appear over a montage of female...

May 26, 2026 — Top prizes go to films by Cristian Mungiu, Andrey Zvyagintsev, Valeska Grisebach, Paweł Pawlikowski, and Los Javis.

May 22, 2026 — This week brings a look back at Cronenberg’s Crash and conversations with Boots Riley and Wallace Shawn.

May 19, 2026 — “My history’s burning up out here,” Ned Racine (William Hurt) tells his lover in the opening minutes of Lawrence Kasdan’s directorial debut, Body Heat (1981). Ned, a small-time attorney and local roué in his South Florida beach town, recognizes the...

May 18, 2026 — Critics are taking to Paweł Pawlikowski’s Fatherland, Radu Jude’s The Diary of a Chambermaid, and Jordan Firstman’s Club Kid.

May 15, 2026 — This week: Super 8 films by Teo Hernández, a new feature from Patrick Wang, and a revival of Aloïse (1975), starring Isabelle Huppert and Delphine Seyrig.

May 12, 2026 — Sorting through critics’ most-anticipated titles, catching up with interviews and profiles, and more.

May 8, 2026 — Jean Rouch said they created “a new cinematographic language,” and a retrospective touring North America begins in Toronto.

May 1, 2026 — A new month begins with a Visconti restoration, a new issue of Senses of Cinema, and a deep backgrounder on Backrooms.

Apr 29, 2026 — Deep Dives You look at Rainer Werner Fassbinder’s The Third Generation (1979), and you see the snarky, risky spirit of the New Wave movements that emerged around the world in the 1960s and ’70s in full, defiant bloom. But what...