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Jun 21, 2016 — Animated in Czechoslovakia amid a Soviet invasion, the French film Fantastic Planet, the third collaboration between René Laloux and Roland Topor, timelessly renders its surreal sci-fi story of captivity and resistance.

Jun 3, 2016 — During the second incarnation of this festival dedicated to movies preserved on nitrate film, Jared Case, the festival’s executive director, talks about his work bringing the Nitrate Picture Show to life, selecting this year’s films, and why nitrate remains a...

Jun 2, 2016 — Kings of the Road is the most “roadish” of Wenders’s road movies, a film about travel as a form of escape for two German men and the transitory bond they form along the way.

May 27, 2016 — The actor sits down to recount his experiences working on Altman’s film about an amoral Hollywood studio executive and discusses the agreement he and Altman made to ensure that the production would be truly independent.

May 26, 2016 — During the conductor and composer’s visit—a day after he’d led the New York Philharmonic in a live orchestral performance of the score to City Lights—we talked about his love for early cinema, the delicate process of restoring Chaplin’s music, and...

May 24, 2016 — In The Player, Robert Altman’s early nineties comeback film, the director brilliantly skewers Hollywood—getting all the details right, as only he could—while constructing his own kind of Hollywood Movie.

May 10, 2016 — Nicholas Ray’s In a Lonely Place imbues the conventions of film noir with a subtle, tense vulnerability that lends a naturalistic weight to the film’s powerful emotional impact.

Apr 26, 2016 — “It is not an exaggeration to say that before Primary, documentary as we know it today—the art of candid observation—didn’t exist,” writes Thom Powers.

Mar 29, 2016 — Les Blank’s long-lost documentary revels in the trippy, eccentric world of and surrounding Tulsa Sound pioneer Leon Russell, transforming what might have been a standard concert movie into a genuine work of art.

Mar 23, 2016 — We had come to expect Chantal Akerman’s periodic gifts of small and large cinematic gems. Certain of this flow, we were devastated when, all too abruptly, we were forced to think of her latest film, so beautiful, as her last.