The Man

Nov 12, 2007 — What is left of Berlin Alexanderplatz, this endless canon of the sublime and the trivial, is thus a perpetuum mobile of the human dance of love and death.

Sep 13, 2007 — Some people have seen an impossible number of movies, and the most astonishing part is that they actually remember them all. Pierre Rissient, who is very much on our minds these days, is one of those. Producer, director, distributor, talent...

Jun 5, 2006 — Painful, beautiful, and discomfiting, Maurice Pialat’s coming-of-age drama remains as startling in its honesty, its unique mix of savagery and delicacy, as it was in 1983.

Apr 25, 2005 — Andrzej Wajda’s first feature film marks the beginning of the Polish School, the paradigm of Polish cinema that arose from the political and cultural thaw of the mid-1950s.

Mar 13, 2004 — With uncharacteristic warmth and affection for human frailty, Ingmar Bergman raises the question of how love can possibly last forever.

Dec 30, 2003 — Akira Kurosawa was a man of his time, who participated fully in the artistic and intellectual world of Japan from the 1930s until his death in 1998. Although filmgoers may think of him in terms of the screen images he...

Jun 9, 2003 — In Stan Brakhage’s films we enter into momentary perceptual transactions in which we trade unhindered assimilation of images for intensified contact with pictorial or sensory features that might otherwise go unnoticed.

Dec 5, 1988 — This existential thriller didn’t begin its life as a cannily trendy product of studio filmmaking, but rather as the very personal expression of the imagination of one of European art cinema’s greatest talents, Michelangelo Antonioni.

May 19, 2026 — Elevator doors open onto a warehouse floor bathed in red light, high above downtown Manhattan in early May 2024. Exposed concrete and visible ductwork frame a room where artists in green aprons, cosplaying as waiters, circulate among guests in suits...

Oct 28, 2025 — An adaptation of a classic pulp novel by William Lindsay Gresham, Guillermo del Toro’s first foray into film noir is an intensely evocative exploration of how human impulses can give rise to monsters.