The Deep

Mar 19, 2018 — New York. On Friday and Saturday, Anthology Film Archives pairs Forough Farrokhzad’s The House Is Black (1962) and Abbas Kiarostami’s The Wind Will Carry Us (1999). As Jeva Lange notes at Screen Slate, House “was shot at a leper colony...

Oct 4, 2017 — Vivian Qu’s Angels Wear White premiered in competition in Venice, screened in the Contemporary World Cinema program in Toronto, and now heads into the Official Competition at the sixty-first BFI London Film Festival. Little White Lies has asked ten LFF...

Oct 3, 2017 — In the print edition of the current issue of Film Comment, we find Luca Guadagnino saying that “the true generator of the movies I try to make is Jean Renoir, and A Day in the Country is really the alpha...

Jul 7, 2016 — In honor of the director, we look back at his quintessentially American narratives.

Mar 2, 2016 — Over at the Sight & Sound blog, the BFI has just published an insightful and exhaustive article by Albertine Fox about the brilliant career of Anne-Marie Miéville, the Swiss-born multimedia artist and director of several acclaimed features, including: My Dear...

May 27, 2015 — Costa-Gavras’s political drama sheds disturbing light on the violent methods used by governments to maintain order.

Oct 28, 2013 — A husband and wife in 1960s Milan are isolated from each other and displaced in the modern world in Michelangelo Antonioni’s tale of love and space.

Mar 22, 2011 — The Times of Harvey Milk is one of the defining monuments to the life and legacy of my late uncle Harvey Milk. It has also been a companion in many ways during my own journey as the openly gay nephew...

Jul 19, 2010 — “Why do you want to dance?” “Why do you want to live?” A question followed by another question stands at the beating heart of The Red Shoes. It’s an entirely rhetorical exchange, but it underscores the power and the mystery...

Feb 16, 2004 — Henri-Georges Clouzot took the standard ingredients of the Continental-Films detective movies and used them to make something darker and more complex—to make, in fact, the first classic French film noir.