Never Let Go

May 20, 2025 — Cannes 2025: Sirāt and Two Prosecutors emerge as critical favorites, while Nouvelle Vague finds both champions and detractors.

Feb 14, 2025 — The director of Down with Love talks about his favorite romantic comedies set in the great metropolis and looks back on the making of his own foray into the genre.

Sep 26, 2024 — The directors discuss their award-winning documentary Bad Press and their effort to invert the exploitative dynamics that have long existed between documentary filmmakers and Indigenous communities.

Dec 8, 2023 — Roy Waller (Nicolas Cage), the jittery protagonist of Ridley Scott’s 2003 crime comedy Matchstick Men, doesn’t like to think of himself as a common crook. “I’m a con artist,” he insists, and—in a frenzy of self-justification—further explains: “They give me...

Aug 28, 2023 — Throughout her four-decade career as a writer and director, Susan Seidelman has told complex stories about unconventional women striving to express themselves and maintain their autonomy. Her genre-melding films fuse a passion for the pleasures of Hollywood spectacle with a...

Jan 31, 2022 — Movies are about looking, and no one involved in the making of a film is more directly responsible for the frames we look at than a cinematographer, or director of photography. Together with the director, the cinematographer shapes the visual...

Oct 20, 2021 — The late director of Canoa: A Shameful Memory aimed “to show people the real Mexico.”

Jan 21, 2020 — One of the lesser-known films in Godard’s extraordinary run of 1960s masterpieces, this severe, angular thriller was the director’s first foray into the political territory that would prove so essential to his later work.

Aug 10, 2017 — “Stylish swagger goes full-tilt boogie in Let the Corpses Tan (Laissez bronzer les cadavres), the latest delirious exercise in lovingly retro pastiche from Brussels-based writer-directors Hélène Cattet and Bruno Forzani,” begins Neil Young in the Hollywood Reporter. “Having amassed a...

Oct 16, 2006 — Lodge Kerrigan’s grim, lucid dispatch from the murky depths of madness situates itself inside the tormented consciousness of a schizophrenic.