Geu-hu

Mar 12, 1990 — This Fred Astaire-Ginger Rogers film is a classic example of how music and dance can be used to tell a story, express emotions, richly explore human relationships, subvert logic, and send us singing and skipping into the street.

Jun 13, 1988 — G. W. Pabst lends humanity and depth to his adaptation of a play by Bertolt Brecht—one of the last great works of German cinema's richest period.

Feb 8, 1988 — Sidney Lumet’s courtroom drama explores the process of law in human hands, where prejudice, fear, weakness, and even weather can divert the carriage of justice.

Feb 1, 1988 — Charles Laughton’s classic has the feel and the force of an American folk fable; yet, it also mixes rural humor with gothic humor, biblical quotation and Freudian symbolism, and everyday realities with a near-mythic confrontation between the forces of good...

The host of Track Star and Public Opinion talks about why The Last Waltz is the greatest concert movie ever made, praises Aki Kaurismäki’s singular sense of humor and visual style, and selects some his favorite melodramas, including Written on...

The actor celebrates a New York Knicks victory with Hoop Dreams, praises the way Todd Solondz and Gregg Araki bring humor to dark subjects, and selects favorites like Mean Streets and Love Streams.

A sui generis icon of counterculture cinema and style, John Waters upends traditional notions of “good taste” and heteronormative social conventions with a gleefully transgressive mix of camp humor, outrageous provocation, and daring empathy.

Three indelible tales of Black urban life; a 1960s revenge thriller; a blockbuster biblical comedy; a glittering pre-Code jewel; the most sensual Hollywood noir; six woman-centered features from Japan; and a ravishing vision of a world where humans have forsaken...

The writer and director of Magellan praises the use of silence and space in Le samouraï, talks about how Mike Leigh and Kenji Mizoguchi explore the human condition in their films, and selects his good friend Béla Tarr's Werckmeister Harmonies.

The writer and director expresses that Tampopo is really about “what lies in the depths of the human heart,” explains how Carl Theodor Dreyer’s films depict feelings and ideas that can only be portrayed through cinema, and admires Federico Fellini’s...