Alone

May 31, 2022 — The jury gave awards to nearly half the competition, but some critical favorites missed out.

May 31, 2022 — Wayne Wang’s breakthrough feature, a milestone in Asian American cinema, is a humorous and intimate snapshot of San Francisco’s Chinatown.

May 20, 2022 — Critics take a first look at new films from James Gray, Felix van Groeningen and Charlotte Vandermeersch, Mia Hansen-Løve, Saela Davis and Anna Rose Holmer, and Pietro Marcello.

May 18, 2022 — Just slightly northwest of Death Valley, in what is now eastern California, a mountain range carves out the eastern edge of the Owens Valley. Sculpted by bedrock pushed between tectonic faults during the late Proterozoic to Cambrian periods, the Inyo...

May 16, 2022 — This month we’re reading about David Fincher, Sofia Coppola, Hong Sangsoo, and Werner Herzog.

May 10, 2022 — The director of Ex Machina and Annihilation returns, and many critics have questions.

May 4, 2022 — The twenty-fifth edition offers lavish decadence, experimental poetry, and timely poignance.

Apr 26, 2022 — In the opening moments of Arie and Chuko Esiri’s Eyimofe (This Is My Desire) (2020), we first hear—the ceaseless hum of machines at work—and then see: a jumble of multicolored wires. The 16 mm film image is grainy, trembling ever...

Apr 15, 2022 — This week we’re reading interviews with Mira Nair and Jane Schoenbrun, profiles of Viola Davis and Maggie Cheung, and an essay on Joan Micklin Silver.

Apr 11, 2022 — Whit Stillman pays tribute to illustrator Pierre Le-Tan and Genevieve Yue, Gary Indiana, and Dennis Lim discuss their new books.