Days

Mar 18, 2009 — Writer, critic, and film lecturer Teruyo Nogami also served as one of Akira Kurosawa’s principal assistants. Hired as script supervisor on 1950’s Rashomon, Nogami went on to work on all of Kurosawa’s subsequent films, later chronicling their unique relationship in...

Mar 16, 2009 — This long-underappreciated giant of Japanese cinema was an innovative visual stylist and a born storyteller who preferred to make films about outsiders.

Feb 3, 2009 — Luis Buñuel’s surrealist satire is the last film he made in Mexico, the last one in which he used Mexican actors, and most significantly the last one on which he worked with the great Mexican cinematographer Gabriel Figueroa.

Jan 25, 2009 — Conventional wisdom once held that any European film worth seeing passed through the New York Film Festival. Still, when I first began reviewing movies for the Village Voice in the late seventies, there were some legendary exceptions: Tarkovsky’s The Mirror,...

Jan 6, 2009 — Bernardo Bertolucci’s Oscar-winning film is not just an epic but also a small film, one in which, somehow or other, the scope of David Lean has been enriched with the vision of Ozu.

Dec 25, 2008 — Robert Rossellini’s efforts to put history into images would yield some forty-two hours of “didactic” movies, mostly for television.

Dec 17, 2008 — Sellout crowds have caused New York's Film Forum to extend its run of the new Janus Films restoration of Amarcord for another six days, until December 23. So, New Yorkers, it's not too late to see this “fun-house tour through...

Dec 3, 2008 — Gliding on silvery reels of steel, and tricked out with Lars von Trier’s panoply of visual effects, the film ravishes with its elaborately storyboarded tunnel vision.

Nov 27, 2008 — A genuine cause célèbre, adapted from Romain Gary’s 1970 nonfiction novel, Samuel Fuller’s late work is an unusually blunt and suggestively metaphoric account of American racism.

Nov 23, 2008 — Wes Anderson made a film without a trace of cynicism, one that obviously grew out of his affection for his char­acters in particular and for people in general.