Time to Love

Feb 18, 2013 — Performances Hiroshima mon amour (1959) is a groundbreaking portrait of a world come undone. Even more memorably, thanks to the brilliant precision of Emmanuelle Riva’s performance, it’s a study of a woman unraveling. In this first leading role in an...

Oct 23, 2012 — After winning an Oscar, John Schlesinger used his newfound artistic freedom to make a personal film in which homosexuality is treated as groundbreakingly ordinary.

Apr 3, 2012 — Lena Dunham talked to us about a series she just programmed of films that have inspired her.

Nov 8, 2010 — To say that Lars von Trier deals in provocation and controversy is like saying John Ford made westerns: obviously true, but far from giving a measure of the director’s importance. Ever since The Element of Crime polarized critics at Cannes...

Apr 16, 2007 — Jules Dassin’s noir is arguably the meatiest and most resonant prison film ever made in Hollywood, drawing explicit parallels to the Nazi encampment experience.

May 22, 2006 — Luis Buñuel’s merciless satire concerns the smallness of our vision of progress and our narrow attempts to achieve it through rational or moralistic planning.

Sep 13, 2004 — This oblique strategy can be seen as a self-referential characterization of Slacker itself: it appears to have no struc­ture, to be chaotic (a matter of random encounters), when, in fact, it has a very subtle, extremely well-crafted structure that makes...

Jun 21, 2004 — Indefatigably productive, ingenious, exasperating, narcissistically didactic, slyly self-promoting, abject, generous, exploitative, devoted to the wretched of the earth with honest fervor and deluded romanticism: Pier Paolo Pasolini can easily exhaust the adjective-prone, as man and artist, his person and his...

Apr 28, 2003 — The fourth installment in François Truffaut’s Antoine Doinel saga is a comedy about marriage, the desire to escape it, and the craftiness involved in running from one’s own desires.

Aug 28, 2000 — Alberto Lattuada’s gifts for dramatic narrative were joined for the first and last time with Federico Fellini’s flair for cartoonish satire and lyrical sentiment.