Love and Death

Dec 4, 2017 — The week begins with good news: Wes Anderson’s stop motion animated film Isle of Dogs will open the sixty-eighth Berlin International Film Festival (February 15 through 25). As the Berlinale reminds us, this is “the story of Atari Kobayashi, twelve-year-old...

Sep 8, 2017 — “A complex and layered work, [Jonas Mekas’s] Lost Lost Lost [1976]—especially its first hour—is among cinema’s most poignant accounts of the immigrant experience,” writes Girish Shambu. “Historically, the best immigration cinema stages, in an astonishing multitude of ways, a divided...

Aug 8, 2017 — This underappreciated highlight of Michael Curtiz’s filmography grapples with postwar disillusionment and marital strife through the prism of a daylight noir.

Aug 7, 2017 — The big news to catch up with here is the launch of Film Critic: Adrian Martin, “almost 20 years, on and off, in the making.” Adrian Martin has been writing essential film criticism for four decades now, and what’s collected...

Jun 1, 2017 — “The greatest filmmakers, like the greatest novelists and poets, are trying to create a sense of communion with the viewer,” writes Martin Scorsese in the new issue of the TLS. “They’re not trying to seduce them or overtake them, but,...

May 19, 2017 — Let’s open today’s round of interviews with one from the archives, a conversation with Michelangelo Antonioni that originally ran in Corriere della Sera in 1982 but evidently took place during the final stages of shooting Blow-Up (1966). It’s been translated...

Mar 7, 2017 — With his unique blend of British realism and romantic fatalism, director Andrew Haigh exposes the quiet desperation at the heart of a long marriage.

Mar 1, 2017 — In his most seductive experiment with cinematic time, Richard Linklater wrestles with the joys and challenges of long-term intimacy.

Feb 5, 2017 — Kirsten Johnson interrogates the thorny ethics of nonfiction filmmaking in her intriguingly elliptical blend of essay, travelogue, and memoir.

Jan 11, 2017 — A revelatory restoration of Lewis Milestone’s underappreciated newsroom comedy accentuates the film’s punchy rhythms and breakneck banter.