The Other Me

Jan 14, 2025 — In his only directorial effort for the big screen, Richard Pryor takes the raw stuff of his life and alchemizes it as art, demonstrating the humor and vulnerability that made him a towering figure in American culture.

Nov 22, 2024 — Powell and Pressburger, Cassavetes and Rowlands, Robert Frank, Catherine Breillat, John Waters, Babette Mangolte, Sergei Loznitsa . . .

Nov 20, 2023 — This month brings new books on Godard and Bergman, novelists moonlighting as film critics, and biographies of Lena Horne and Elizabeth Taylor.

Jul 8, 2022 — This week: Juliette Binoche’s work with Krzysztof Kieślowski and Claire Denis, post-Berlin School German cinema, and Tom Cruise’s “immaculate superstardom.”

Mar 15, 2022 — The story of queerness in American cinema isn’t complete without the unusual case of These Three (1936) and The Children’s Hour (1961). Both films are based on Lillian Hellman’s 1934 play The Children’s Hour, inspired by an incident in which...

Oct 12, 2021 — In Raoul Walsh’s elegy for the Depression-era archetype of the noble outlaw, Humphrey Bogart plays an old-fashioned desperado who has outlived his time.

May 16, 2019 — All week long, writers have been reminding us that there was more to Doris Day than sweet sunshine.

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.

Apr 6, 2018 — Angela Schanelec’s films “represent the most innovative use of ‘conventional’ editing in narrative cinema since Pialat who, along with Bresson, has been a clear influence,” writes Michael Sicinski for the Notebook. “Schanelec’s contribution is what we might call the ‘epistemological...

Mar 12, 2018 — After Paula Prentiss, who’s recently turned eighty, had a nervous breakdown on the set of What’s New, Pussycat? (1965), she “didn’t turn up in another movie until Mike Nichols’s Catch-22 (1970), by which time Hollywood had changed to the point...