Desires

Mar 27, 2019 — Twenty-four features by some of the world’s most promising directors are screening in New York through April 7.

Mar 26, 2019 — As BAM prepares to present the largest U.S. retrospective yet, we look back on the singular oeuvre.

Mar 21, 2019 — “The world is full of skeptics,” Detour’s Al Roberts struggles to explain, in voice-over, while on-screen we’re pondering Vera’s dead body. “I know. I’m one myself . . .”Even now, closing in on seventy-five years after the Producers Releasing Corporation...

Mar 7, 2019 — The art of Orson Welles and David Lynch, the marriage of Fay Wray and Robert Riskin, and the criticism of Adrian Martin and David Thomson are among the subjects in this month’s round.

Feb 5, 2019 — Shame (1968) is one of the great neglected films from Ingmar Bergman’s midcareer creative explosion. It builds on and surpasses the two Bergman films that immediately preceded it: the avant-garde milestone Persona (1966) and the surreal shocker Hour of the...

Jan 15, 2019 — In Notorious (1946), love assumes different shapes and presentations—as a wound, a weapon, a promise, a curse. For Ingrid Bergman as the lusciously complex and raw-nerved Alicia Huberman, it’s all these things. As the film begins, Alicia is on the...

Dec 7, 2018 — Christian Petzold’s films are like dances in which people circle each other but never quite connect. The most resonant moments in the German writer-director’s work are not ones of dialogue or plot development but of blocking and choreography: bodies intertwining,...

Oct 12, 2018 — Two early works by Ingmar Bergman show the Swedish master grappling with the conventions of melodrama, which would go on to influence his later explorations of spiritual torment.

Oct 11, 2018 — Did You See This? Five highlights of the past seven days:Films by Michael Mann are the subject of two not-to-be-missed pieces this week. Writing for Oscilloscope’s Musings, Bilge Ebiri argues the case for the neglected Blackhat (2015): “When video liberated...

Oct 9, 2018 — In a world vulnerable to authoritarianism, Rainer Werner Fassbinder’s television epic stands as an example of how an artist can speak to a broad audience about revolutionary politics.