The Remains of the Day

Jul 21, 1998 — Hiroshi Inagaki’s Samurai Trilogy, of which this release is the first part, was adapted from Eiji Yoshikawa’s epic novel Musashi Miyamoto, which has been called Japan’s Gone with the Wind. The comparison is valid, for the tale of the medieval...

May 25, 2017 — This Saturday night, the Nickelodeon in Columbia, South Carolina, goes inside the world of Bob Dylan with D. A. Pennebaker’s 1967 Dont Look Back, as the film takes over the big screen after an introduction by local singer-songwriter Jade Blocker....

Jul 2, 2018 — Josef von Sternberg may have been one of cinema’s original micromanagers, but his films are testaments to longstanding collaborations with brilliant artists and technicians.

Jul 12, 2018 — French master René Clair, who achieved comedy magic at the dawn of film sound, takes the spotlight in a program next Wednesday at the Miami Beach Cinematheque.

Mar 14, 2018 — From today through March 30, the Quad Cinema in New York is presenting Pacino’s Way, a decades-spanning retrospective that will build up to screenings of two films Pacino’s directed, Wilde Salomé (2011) and Salomé (2013). “From 1971 to 1976,” writes...

Jun 26, 2012 — Hiroshi Inagaki’s action epic is as responsible for creating Toshiro Mifune’s legendary cinematic persona as the films of Kurosawa.

Jan 22, 2007 — A delightfully old-fashioned morality tale, Robert Day’s low-budget space flick is far more than the standard monster fare it was initially sold as.

Dec 10, 2019 — Rock music, as director Wim Wenders once joked in an interview, offered to him and other Germans of his generation the “only alternative to Beethoven.” There is likely as much truth as hyper­­bole in the statement; considering the role that...

Feb 9, 2022 — The Learning Tree may have been Gordon Parks’s first feature film as a director, but by the time filming began in the fall of 1968, Parks already had almost three decades of experience behind a camera. In 1940, the self-taught...

Oct 4, 2011 — The spectacle of joyless lubricity and dehumanizing cruelty and carnage visualized by Pier Paolo Pasolini could not be further from the dry, dense, and circular arguments to be found in the printed pages of his bibliographic sources.