All I Desire

Oct 19, 2023 — Her entrance in the film is impossible to forget. She swings into the scene to serve a patron some coffee, holding a cup in one hand and a book in the other. Her diamond-shaped face is obscured, but her aura...

May 30, 2023 — Arriving at a fulcrum moment in women’s history in the United States, Thelma & Louise stoked controversy by delivering a boldly feminist worldview in a funny, warm, and sexy package.

Mar 29, 2023 — The Brazil-based programmer discusses her transnational, oppositional approach to curating the daring lineup for Opacity, which was presented at the Flaherty Seminar in 2021 and is now available on the Criterion Channel.

Mar 21, 2023 — Fiction by Lee Chang-dong, a spotlight on Cary Grant, and essays on Stan Brakhage are among this month’s highlights.

Jan 31, 2022 — Movies are about looking, and no one involved in the making of a film is more directly responsible for the frames we look at than a cinematographer, or director of photography. Together with the director, the cinematographer shapes the visual...

Sep 17, 2021 — New issues of Film Quarterly and Animus and a conversation with Liv Ullmann and Jessica Chastain are among this week’s highlights.

Mar 23, 2021 — “Pleasure,” wrote Samuel Butler in The Way of All Flesh, “is a safer guide than either right or duty.” Surely this is true when it comes to watching films. While cinema can be edifying, most of us go to the...

Oct 28, 2020 — More than anything, Claudine felt like a reprieve; the film, directed by John Berry and released in 1974, gave audiences a compelling alternative depiction of Black life from those about Black drug lords and mafia dons fighting over real estate...

Jun 18, 2020 — When Jamie Babbit’s But I’m a Cheerleader made its theatrical premiere in July 2000, it was entering a queer political landscape vastly different from the one we live in today. Over the last two decades, we’ve witnessed the rise of LGBTQ...

Nov 17, 2017 — G rasshopper Film has posted Ted Fendt’s essay on Moses and Aaron (1974), Jean-Marie Straub and Danièle Huillet’s adaptation of Arnold Schoenberg’s unfinished opera: “Straub and Huillet’s brilliance—and a fundamental aspect of their method of adaptation—is to allow the contradictions...