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Foreign Correspondent

Nov 13, 2023 Channel Calendars This December, take your pick from the cinematic gifts under our tree! We’ve got a spotlight on indie queen Parker Posey, major retrospectives dedicated to the towering artists Yasujiro Ozu and Ousmane Sembène, offbeat portraits of the animal...

Dec 1, 2021 Celebrate the holidays with our 21-film Alfred Hitchcock retrospective and a series dedicated to collaborations between female directors and cinematographers.

A Noir-Tinged Week

The Daily

Aug 13, 2021 This week we’re reading about the first and second waves of noir and taking a good look at a smartly dressed man.

Mar 4, 2020 A series in New York celebrates the under-recognized work of Alma Reville and Joan Harrison.

Jan 9, 2017 Since its inception more than a half-century ago, the National Society of Film Critics has maintained its reputation for championing idiosyncratic and independent voices during the commercially driven awards season, with past best picture awards going to films like Michelangelo...

Mar 16, 2015 Director and star Robert Montgomery suffuses his moody 1947 New Mexico–set noir with palpable postwar anxiety and expressive fatalism.

May 1, 2014 When Walter Wanger conceived the movie that would become Riot in Cell Block 11, he wasn’t thinking in terms of pop culture. The longtime independent film producer, with classics (and Criterion releases) such as Stagecoach and Foreign Correspondent to his...

Dec 16, 2008 There has never been another movie quite like Carol Reed and Graham Greene’s masterpiece—a borderline counterintuitive combination of disparate elements that somehow come together as if they had been destined to do so.

Notorious

Essays

Oct 15, 2001 Alfred Hitchcock’s classic thriller features two of Hollywood’s greatest stars, rendering their characters' grand romance in all its passion and perversity.

Aug 17, 1992 Blackmail was Alfred Hitchcock’s tenth picture in England, his second thriller and first British talkie—and it marked an important crossroads in film history. Hitchcock shot the film in 1929 as a silent picture, but when it was ready for silent...

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