The Son

Jan 7, 2021 — That Obscure Object of Desire (1977) is often referred to as Luis Buñuel’s “testament” work, the apotheosis of his remarkable career as a filmmaker. It perfectly blends the type of outrageous surrealism he pioneered in the late twenties and early...

Nov 13, 2019 — Flowers and vegetables pulse, slither, and take dirigible flight; a horse becomes a pampered, petulant lover; a diminutive porcelain mouse transforms into a muscled superhero to save a beleaguered heroine: these are just some of the arresting images in the...

Jul 11, 2019 — When we think of Ingrid Bergman, we may immediately call up images of her “you deserve this!” smile, or the indecision on her face in Casablanca (1942). There is a rare kind of suspense in watching Bergman’s face in flux...

Apr 24, 2015 — Atypical in style and subject, Yasujiro Ozu’s early crime dramas show a future master brilliantly experimenting with camera and editing.

Jan 6, 2014 — Critics commonly describe Throne of Blood (1957) as Akira Kurosawa’s adaptation of Macbeth. While this description is certainly not untrue, the film is much more than a direct cinematic translation of a literary text. Kurosawa’s movie is a brilliant synthesis...

Sep 18, 2013 — This chapter about director Richard Linklater’s beginnings, from the 1996 book Spike, Mike, Slackers & Dykes: A Guided Tour Across a Decade of American Independent Cinema, is by the former producer’s representative, creator and host of IFC’s Split Screen, and...

Jul 13, 2023 — Celine Song’s feature directorial debut, Past Lives, premiered at the Sundance Film Festival in 2023 and was released in theaters by A24. Her play Endlings received its world premiere in 2019 at the American Repertory Theater and had its New...

Nov 5, 2024 — As a composer, arranger, producer, and perhaps above all, connector, Jones was one of the most vital artists of the past seventy years.

Jul 1, 2024 — BAM will launch a nine-film series with the one film that stars both, Robert Altman’s 3 Women.

Sep 28, 2022 — A long-obscure landmark of the Iranian New Wave, Mohammad Reza Aslani’s daringly ambiguous portrait of feudalism’s demise mirrors the revolutionary times in which it was made.