The Fin

Sep 17, 2007 — Today we are used to seeing dance artistically presented on television and in movies—these films about Martha Graham helped to make that happen.

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.

Sep 6, 1999 — The subject of loneliness and the observation of the isolated person has always interested me. Even as a child, I couldn’t help but notice those who didn’t fit in for one reason or another—myself included. In life, and for my...

Oct 18, 1998 — 1986 was not a good time to make a film which attempted to capture the Punk spirit. Deep into second-term Reagan/Thatcher, American and British pop culture were infected with cynicism, hopelessness, immobility. So when Alex Cox came over with his...

Jun 7, 1993 — For as long as images have flickered on a screen, romance has been the ever-beating heart of the filmgoing experience, and audiences never seem to tire of seeing lovers in each other’s arms. Yet when it comes to the most...

Jul 8, 1991 — James Bond: “Do you expect me to talk?” Goldfinger: “No, Mr. Bond, I expect you to die!” Goldfinger, arguably the best of all the Bond films, features an outrageous plot with a very realistic sense of danger. The third James...

Jun 24, 1990 — Some films have become famous simply because they’ve sold a lot of tickets. Others have major studio publicity machines behind them, the better to hog the spotlight. Still others earn their fame the hard way through genuine critical acclaim. But...

The rapper, actor, and producer praises The Others as a “certified banger,” selects My Crasy Life and talks about the importance of chronicling the world around you, and finds inspiration in Melvin Van Peebles’s creative endurance

The actor shares how she finds comfort in Hedwig and the Angry Inch, talks about helping to create a theatrical adaptation of Town Bloody Hall, and selects favorites including Shampoo, Paper Moon, and Hoop Dreams.

Nov 18, 2018 — Ingmar Bergman scholar Peter Cowie explores how the great actor’s authoritative screen presence allowed him to embody the director’s fears and ideals.