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The End of the Day

Sep 19, 1994 The French do not have to take crash courses in order to deal with the man/woman thing. It is in their blood and in their civilization. Hence, they do not have to compensate for a habitual sexism with extravagant portraits...

Mar 9, 2021 “Oral tradition is a tradition of images. What is said is stronger than what is written; the word addresses itself to the imagination, not the ear. Imagination creates the image and the image creates cinema, so we are in direct...

May 2, 2019 When I first saw My Brilliant Career, when it was released in New York in 1980, I was ignorant of director “Gill” Armstrong. I assumed she was a man, because at the time I could count the female directors I...

Apr 19, 2016 In Whit Stillman’s second feature, cousins Fred and Ted Boynton (Chris Eigeman and Taylor Nichols) navigate an occasionally hostile culture and their own late transitions to adulthood.

Mar 27, 2012 Good wartime propaganda films are as rare as good wars. Noël Coward and David Lean’s In Which We Serve, which had its premiere in Great Britain in September 1942, when the nation was entering the fourth year of hostilities with...

Apr 25, 2023 In his second Palme d’Or–winning film, Ruben Östlund uses familiar reality-television tropes to stage a deeply unnerving spectacle of obscene wealth and class outrage.

Mar 22, 2022 In Robert Aldrich’s epic disaster film, James Stewart leads a pack of temperamentally different men as they struggle to survive in the face of the unknown—a template that would go on to influence Hollywood blockbusters for decades to come.

Seoul After Dark

The Daily

Feb 5, 2026 Bong Joon Ho, Park Chan-wook, and Hong Sangsoo select films to screen in a series celebrating the Korean Film Archive.

Buñuel in Mexico

The Daily

Jan 31, 2024 MoMA presents a series of musicals, comedies, and melodramas injected with Buñuel’s singular surrealist vision.

Jul 11, 2023 In her audacious debut feature, Cheryl Dunye blends romantic comedy and staged archival material to explore love, friendship, and early U.S. cinema’s history of exclusion.

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