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Sep 13, 2019 — Nicholas Britell’s scores are so finely calibrated to the movies they inhabit that they become inextricable from the images on-screen. Whether it’s the staccato heartbeat of orchestral strings in Barry Jenkins’s Moonlight or the mix of piano motifs and hip-hop...

Sep 12, 2019 — A new web resource spearheaded by Su Friedrich celebrates women editors from around the world, highlighting work that has long been obscured by the masculinism of auteurist film culture.

Sep 10, 2019 — In this landmark melodrama, director Ritwik Ghatak channeled his grief over the destruction of his beloved homeland, Bengal, in the wake of the Partition of India.

Sep 9, 2019 — In his thought-provoking latest book, the critic and frequent Criterion contributor traces the complex ways European filmmakers have grappled with the influences of Christianity and modernity.

Sep 6, 2019 — This week we revisit the work of the late critic Gilberto Perez, novelist W. G. Sebald, and filmmakers Alice Guy Blaché, Wong Kar-wai, and Agnès Varda.

Sep 5, 2019 — Critics split three ways: Joker is just plain great, or great but dangerous, or dangerous and also really quite bad.

Sep 4, 2019 — The late actor became an icon of his generation with this moody, brilliant non-performance, informed by his intimate knowledge of chaos and death.

Sep 4, 2019 — With their novelistic density and sexual openness, the films of French master André Téchiné introduced director Stephen Cone to a strange new world of contradictions.

Sep 4, 2019 — After Laurence Olivier and Kenneth Branagh, it’s Timothée Chalamet’s turn to lead the English to the Battle of Agincourt.

Sep 2, 2019 — Dark Passages Thieves’ Highway A hay cart trundles through a sunny field above Fresno, California, in the opening shot of Thieves’ Highway. This is not an image you expect to see in film noir, which most often breeds in cities, alienated from the...