The Black Demon

Jun 11, 2019 — The problem with Fred Astaire and Ginger Rogers movies, everyone agrees, is that there is never enough dancing. You have to wait through often silly plots and hit-or-miss comedy for the musical numbers that are the whole point. But the dances...

Jul 17, 2012 — Down by Law, released in 1986, was Jim Jarmusch’s third movie. Unlike its predecessors, Permanent Vacation (1980) and Stranger Than Paradise (1984), it did not take off from a semi-documentary view of downtown Manhattan. It was shot entirely on location...

Nov 2, 2009 — The following, written in 1986, is from the first treatment for Wings of Desire. And we, spectators always, everywhere,looking at, never out of, everything!—Rilke, “The Eighth Elegy” At first it’s not possible to describe anything beyond a wish or a...

May 22, 2006 — Barbara Kopple’s detailed analysis of a Kentucky mine workers’ strike is a virtual hub of urgent themes, formal tendencies, political debates, and material practices that define post-sixties documentary in America.

Jul 25, 2005 — Seijun Suzuki’s drama sees sexuality as a potent anarchic force that, in its implacable selfishness, brushes aside any sort of order or discipline.

Jun 21, 1994 — From the opening credits of Spike Lee’s seminal film, She’s Gotta Have It, viewers in 1986 were able to recognize the presence of an extraordinary talent. For it was Lee, a graduate of the New York University’s Tisch School of...

Sep 18, 2025 — This month’s programs offer a feast of horror, including a John Carpenter retrospective and a collection of the most terrifying films of the 2000s.

Jun 17, 2025 — This July, find love under the sun with our Summer Romances collection and flirt with the seductive dangers of Miami’s most thrilling neonoirs.

Mar 10, 2023 — Primarily known as a costume and production designer, this multitalented visionary deserves to be more widely recognized as one of the most important creative forces behind the Czechoslovak New Wave.

Mar 31, 2026 — Violently nihilistic, simultaneously energizing and crushing, Tsui Hark’s remake of the martial-arts classic One-Armed Swordsman captures the zeitgeist of pre–1997 handover Hong Kong.