But No One

May 25, 2022 — Mira Nair’s sumptuous second feature explores migration, rebellion, and romance across racial borders in the American South.

May 25, 2022 — Park returns to the competition in Cannes with a Hitchcockian murder mystery.

May 17, 2022 — Juzo Itami’s tragicomic directorial debut has scandalous fun with the Japanese traditions governing death.

May 10, 2022 — The director of Ex Machina and Annihilation returns, and many critics have questions.

May 9, 2022 — Waters has written his first novel, and a collection of Mueller’s writing has just been reissued.

May 5, 2022 — Has Asian American cinematic representation really reached unprecedented heights, as almost all recent film coverage on the subject claims? In the past two years, critics’ polls, New York Times features, and Golden Globes scandals have marked the newfound success of...

Apr 26, 2022 — In the opening moments of Arie and Chuko Esiri’s Eyimofe (This Is My Desire) (2020), we first hear—the ceaseless hum of machines at work—and then see: a jumble of multicolored wires. The 16 mm film image is grainy, trembling ever...

Apr 26, 2022 — The Sydney-based festival of new restorations offers a rich set of globally accessible program notes.

Apr 22, 2022 — Over my forty-plus years at Janus and Criterion, few films have meant more to me than For All Mankind, because of my lifelong passion for space travel. I remember being a second-semester freshman and registering for Astronomy 101. It was...

Apr 21, 2022 — Critics recommend favorites from this year’s selection of twenty-six features and eleven shorts.