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In a Better World

Oct 19, 2023 Her entrance in the film is impossible to forget. She swings into the scene to serve a patron some coffee, holding a cup in one hand and a book in the other. Her diamond-shaped face is obscured, but her aura...

Aug 22, 2023 In 1962, the young Bo Widerberg threw a grenade into the complacent waters of Swedish cinema. It came in the form of four articles in the evening newspaper Expressen—followed by a book version titled Vision in 
Swedish Film—in which Widerberg...

Dreamed Adventures

The Daily

Jul 8, 2022 This week: Juliette Binoche’s work with Krzysztof Kieślowski and Claire Denis, post-Berlin School German cinema, and Tom Cruise’s “immaculate superstardom.”

Nov 30, 2021 Lost films are not the only tragedy of the silent age. It’s time that we counted up all the forgotten stories, and the overlooked connections as well. The truth is that lost films and lost memories can’t be separated. One...

July Books

The Daily

Jul 22, 2021 Quentin Tarantino’s first novel and studies of Ophuls and Melville are among this month’s new and noteworthy titles.

Dec 29, 2020 Alongside the traditional top tens, critics are offering imaginative pairings and lists of the best audiovisual essays and title sequences of the year.

Nov 17, 2020 Consider Jim Jarmusch’s Ghost Dog: The Way of the Samurai (1999) as a very promiscuous romance picture above anything else—even if not all of its many objects of affection are what you might call properly human and there is no...

Aug 28, 2020 This week’s highlights feature paintings brought to life, pioneering citizen journalists, early “race films,” and the first Japanese wave.

Jun 30, 2020 Come and See (1985) is one of those films whose authority is established from its opening moments. Out in the open air, an elderly peasant dressed in a soft-peaked beret is volleying a mixture of threats and imprecations into some...

May 4, 2020 “You’ve never seen prairie grass with the wind leaning on it, have you, Diz?”Jean Arthur asks this poetic, expressively peculiar question of Thomas Mitchell in Frank Capra’s 1939 Mr. Smith Goes to Washington, and we understand her yearning for truth...

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