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The Crow

May 26, 2026 Women’s hands dance over typewriter keys. The percussive racket they make, like the tapping of an unruly chorus line, takes the place of music during the opening credits of The Office Wife (1930), which appear over a montage of female...

Noir by Gaslight

Features

Oct 4, 2023 Night has fallen in London, but the streets still teem with people. Through a second-story window, we watch as an elderly Jewish man who lives over a shop is stabbed to death and his rooms are set on fire. We...

Apr 25, 2023 Steve McQueen’s monumental, five-film portrait of London’s West Indian community is a howl of endorsement for political resistance and a vivid indictment of institutional malaise.

Oct 18, 2022 Drawing from Latin American folklore, Jayro Bustamente conjures an intimate, supernatural tale that engages with Guatemala’s history of violence.

Sep 28, 2022 Cameroonian director Dikongué-Pipa’s debut feature is both a manifesto on cinema’s capacity to bring about social change and a celebration of love and its possibilities.

Jun 21, 2022 Two eras of Hong Kong history collide in this exquisite ghost story, which solidified director Stanley Kwan’s status as one of cinema’s truest romantics.

Apr 19, 2022 Vittorio De Sica’s neorealist fable deploys barbed humor and surreal flourishes to depict class solidarity and human kindness in postwar Italy.

Mar 29, 2022 About half an hour into love jones, Theodore Witcher’s romance from 1997 starring Larenz Tate and Nia Long, the two main characters amble along a Chicago block as raindrops fall, soft but insistent. The colors are warm, naturalistic—browns, mauves, and...

Nov 23, 2021 The End In the end, it should not have come as any kind of surprise. When Alfred Hitchcock’s Vertigo dethroned Orson Welles’s Citizen Kane (1941) as the greatest film of all time in Sight & Sound magazine’s international poll of...

Jan 19, 2021 In the summer of 1976, my parents took me to see the tall ships in New York Harbor. I was ten, and I remember very little about it other than that I went and that the ships, tall, did not...

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