Human

Feb 17, 2010 — Hollywood craftsman Leo McCarey’s long unsung masterwork Make Way for Tomorrow will soon be garnering deserved attention—we’re releasing the Criterion special edition on DVD February 23. The first out of the gate to sing the film’s praises is Roger Ebert,...

Oct 22, 2009 — Sheila Heti of the Believer had a chance to talk to Agnès Varda during the Toronto International Film Festival—or rather, a chance to be one of a group of reporters whom Varda, at the festival with her film The Beaches...

Oct 12, 2009 — Man is Not a Bird: Flying Away The term “independent cinema” has lost its punch in recent years, from overuse and misapplication. One need only look to the films of Dušan Makavejev for a reminder of its true meaning. This...

Nov 23, 2008 — The possession of a real voice is always a marvel, an almost religious thing.

Arguably the most celebrated Japanese filmmaker of all time, Akira Kurosawa had a career that spanned from the Second World War to the early nineties and that stands as a monument of artistic and personal achievement.

Aug 11, 2008 —   WINGS: TAKING OFF Of all the dazzlingly talented filmmakers to emerge from the Soviet Union, Larisa Shepitko has remained one of the least widely known. While many of her film school contemporaries, including Andrei Tarkovsky, Sergei Parajanov, and her...

Jul 7, 2008 — Every decade since 1984 the Toronto International Film Festival has conducted a poll of film scholars, critics, and directors to determine the ten best movies in the history of Canadian cinema. This top-ten list has changed somewhat over the years,...

Jun 23, 2008 — Five years of increasingly horrific news from the former Yugoslavia made Milcho Manchevski’s searing yet lyrical film timely to a degree that few filmmakers have ever achieved.

Apr 21, 2008 — Juan Antonio Bardem combines neorealism with noir thriller to create a new dialect that would forge a new Spanish cinematic language.

Jan 21, 2008 — As late as 1970, Alf Sjöberg’s boldly experimental 1951 adaptation of August Strindberg’s play was declared as inaugurating “a new cinematic language.”