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Even the Rain

Oct 28, 2017 New York. “It’s an idea so good,” writes Farran Smith Nehme in the Village Voice, “you can’t believe no one did it before: a book about the deep and abiding friendship between Henry Fonda and James Stewart, true legends of...

Sep 27, 2017 In conjunction with a new edition of Stan Brakhage’s Metaphors on Vision, we’re sharing a selection from the opening pages of this seminal work.

Jul 16, 2017 “Legendary filmmaker George A. Romero, father of the modern movie zombie and creator of the groundbreaking Night of the Living Dead franchise, has died at 77,” reports Tre’vell Anderson for the Los Angeles Times. “Romero died Sunday in his sleep...

Twin Peaks Returns

The Daily

May 21, 2017 Tonight, Sunday, May 21, 2017, Twin Peaks returns, just as Laura Palmer (may have) predicted it would twenty-five years ago, give or take. Eighteen one-hour episodes, all directed by David Lynch and cowritten with the show’s original co-creator, Mark Frost....

Jun 14, 2016 Alexander Hall’s 1941 film showcased Robert Montgomery’s star power and, with its premise of a death revoked, provided much-needed comic relief to war-worried audiences.

Feb 21, 2012 Rainer Werner Fassbinder’s only work of science fiction, World on a Wire (1973) is surely one of the most obscure items among the forty-odd titles that constitute his filmography. Originally a two-part miniseries broad­cast on West German television, it had...

Dec 1, 2009 The first words we hear are Sam Cutler’s: “Everybody seems to be ready—are we ready?” We were nowhere near ready for what was to come, there at the bitter end of the sixties. I remember that rainy day so well,...

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.

Night and Fog

Essays

Jun 23, 2003 Alain Resnais’s antidocumentary never purports to “document” the heinous realities of the Holocaust; instead, it interrogates our responses.

Apr 25, 2023 In his second Palme d’Or–winning film, Ruben Östlund uses familiar reality-television tropes to stage a deeply unnerving spectacle of obscene wealth and class outrage.

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