The After

May 25, 2017 — “The botched bank robbery is a well-worn genre staple, but has ever a heist gone quite so wrong to quite such electric, propulsive effect as in Josh and Benny Safdie’s Good Time?” asks Jessica Kiang at the Playlist. “Bouncing wildly...

May 18, 2017 — “Todd Haynes’s films, intellectually rigorous and often profoundly moving, are fractured stories in which alienated, beautiful characters try to find love (or a certain likeness) in the delicate folds of real life,” begins David Ehrlich at IndieWire. “All of this...

Mar 3, 2017 — In his ambitious, decades-spanning The Before Trilogy, Richard Linklater captures the complexities of love and time through the story of Celine (Julie Delpy) and Jesse (Ethan Hawke), who fall for each other as twentysomethings on a train bound for Vienna....

Nov 14, 2016 — Last week, we were saddened to learn of the passing of Raoul Coutard. Our technical director, Lee Kline, shared some memories of working with the great cinematographer.

Apr 4, 2016 — Ray Dolby did not match the conventional image of an eccentric inventor, nor that of a business mogul. But his name now represents a benchmark by which the recording of sound and its playback on disc and in movie theaters...

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.

Feb 24, 2016 — Mike Nichols’s American classic The Graduate launched the career of Dustin Hoffman and made him one of the most sought-after actors of his generation. Up to that point, Hoffman had mainly been performing off-Broadway and taking small roles in film...

Jun 7, 2015 — Critic Glenn Kenny reveals the connection between two classics: Nicolas Roeg’s film Don’t Look Now and Robert Wyatt’s album Rock Bottom.

Feb 19, 2015 — The scholar and producer talks about his experiences on the set of a film that changed his life.

Feb 3, 2015 — Jean-Luc Godard returned to the character-driven intensity of his earlier films with this satirical but serious-minded take on men, women, and money.