The Apartment

Jan 26, 2023 — This great director from the golden age of Mexican cinema drew upon a wide range of styles to explore the conflict between tradition and modernity.

Apr 28, 2021 — A black-and-white comedy about a mother-daughter team of grifters opens New Directors/New Films.

Jan 8, 2020 — When it comes to building a genuine relationship between characters on-screen, how do you capture the feeling of a shared history? How much begins with what’s written on the page, and how much relies on the chemistry between actors or...

Sep 3, 2018 — The producers behind our edition of Tomás Gutiérrez Alea’s masterpiece share stories they discovered from researching the film and the turbulent political climate that inspired it.

Mar 7, 2018 — The two big film festivals of April, one for each coast, have made major lineup announcements. The Tribeca Film Festival has rolled out all of its feature titles for its seventeenth edition, running from April 18 through 29. Last month,...

Jan 20, 2018 — “In the near-decade since Dogtooth gnawed its way into viewers’ imaginations,” begins Guy Lodge in Variety, “the words ‘Greek comedy’ have come to mean something nearly as distinct as ‘Greek tragedy’ to arthouse audiences—just not always distinct from Greek tragedy,...

Nov 12, 2015 — Michael Haneke’s politically prescient drama explores the tenuous, uneasy connections between inhabitants of a globally interwoven Europe.

Jul 7, 2015 — Our recollections of Robert Siodmak’s 1946 movie The Killers are apt to center on three primary elements: Ernest Hemingway’s story, so literally brought to the screen in the film’s opening scenes; Ava Gardner, carrying the full weight of that late-forties...

Apr 24, 2012 — An unverifiable, if heartfelt, assertion: For the quarter century between 1945 and 1970 (or from Rome Open City to Fellini Satyricon), the world’s greatest popular cinema was produced in Italy—a realm of glamorous superstars, sensational comedians, and great genre flicks....

Aug 24, 2009 — Whit Stillman took a risk when he set his third film during (and titled it after) the disco era, whose erstwhile existence, from almost the moment it ended, has seemed to embarrass most Americans more than Watergate. One would think...