The Criterion Collection
Dec 9, 2015 — With Jellyfish Eyes, Takashi Murakami’s creature feature made in the aftermath of Japan’s 2011 earthquake and nuclear crisis, the international art superstar brings his transcultural vision to the lineage of artist-filmmaker crossovers.
The Daily
Jan 7, 2018 — This past Christmas Eve, Jonas Mekas—filmmaker, poet, critic, co-founder of the journal Film Culture and New York’s Anthology Film Archives—turned ninety-five, certainly occasion enough for IndieWire’s Eric Kohn to get a few words with him. They discuss government support for...
The Daily
Apr 21, 2023 — Names in the news this week: Catherine Deneuve, John Akomfrah, Nan Goldin, György Fehér, Leiji Matsumoto, and Hayao Miyazaki.
The Daily
Dec 11, 2017 — Over the weekend, the European Film Awards, the International Documentary Association’s IDA Awards, and the British Independent Film Awards were presented, and now, of course, we have the Golden Globe nominations. A good handful of critics’ organizations announced their picks...
The Daily
Nov 9, 2017 — “DOC NYC started in 2010 and is now, at 250 movies and dozens of filmmaker workshops (best in class: ‘Show Me the Money Day’) spread over eight days [November 9 through 16], the biggest and probably best one-stop venue for...
Essays
Nov 25, 2015 — Akira Kurosawa's 1952 film about one man’s mortality offers a study in postwar Japan, Kurosawa vs. Ozu, and the realization that knowing how to die requires learning how to be alive.
Essays
Nov 30, 1991 — Starring Jack Nicholson and Candice Bergen, Mike Nichols’s provocative drama is about sex without relationships and eroticism.
The Daily
Apr 23, 2021 — This week we’re reading A. S. Hamrah on the contenders for this year’s Oscars and Ben Hecht on the state of Hollywood in 1938.
The Daily
Dec 18, 2018 — Whatever your cinephilic interest—cinematography, acting, criticism—there’ll likely be a new book to take with you into the holidays.
Jan 9, 2017 — A feast of whip-smart banter, Howard Hawks’s protofeminist take on newsroom politics is the most grown-up of all remarriage comedies.