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Sep 30, 2013 — The author describes his interactions with the great Polish filmmaker.

Mar 31, 2013 —

May 5, 2009 — Every second of David Fincher’s uncanny drama—every shot and every cut, every gesture and every facial expression, every turn in its narrative and every visual effect—is devoted to the contemplation of time’s passing.

Nov 20, 2008 — Matt Dentler is the producer of the South by Southwest Film Conference & Festival, in Austin, Texas (sxsw.com), as well as a curator for American distributor Film Movement and Canadian distributor Films We Like. He also hosts the weekly local...

Feb 12, 2007 — Bicycle Thieves is truly one of my favorite films. I could watch it over and over again, and in truth, I have.

Feb 12, 2007 — The trailblazing career of the extraordinary singer, actor, and activist was pivotal to the emergence of a black film aesthetic and, by extension, an African-American cultural identity.

Sep 19, 2005 — When I was a teenage cinephile, in the mid-1970s, Masculin féminin was enormously significant to me. It repre­sented France’s nouvelle vague of the sixties, with its youthful, anarchic spirit of freedom and spontaneity. It was in black and white and...

Maggie Lee is a curator of Asian cinema and chief Asia film critic for Variety. She has contributed as English editor and translator to the Hong Kong Film Archive’s publications, including The Swordsman and His Jiang Hu: Tsui Hark and...

Matt Zoller Seitz is the editor at large of RogerEbert.com, a staff writer for New York magazine, and the author or coauthor of best-selling books on film and television, including “Mad Men” Carousel, “The Sopranos” Sessions, the multivolume Wes Anderson...

The actor and producer shares what he’s learned from close collaborators like Steven Soderbergh and Gus Van Sant, talks about the impact of You Can Count on Me, and recalls a favorite moment from Double Indemnity.