Arthur

Jun 12, 2017 — Informed by his work in theater and his travels through rural America, Nicholas Ray brought an outsider’s perspective to genre filmmaking in his debut feature.

Jun 5, 2017 — Catherine Grant points us to the new issue of the open access journal Film-Philosophy. Before we begin paging through it, let’s have a look at a piece by Benjamin Crais which the Notebook ran last December:For Anglophone readers, Jean Louis...

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 22, 2017 — A tragedian at heart, Shirley Stoler found her Medea in the role of a glowering bandit on the run in Leonard Kastle’s seedy true-crime drama.

Feb 23, 2017 — An elder statesman of independent filmmaking, Samuel Fuller spun his newsroom and frontline experiences into his movies, developing a unique cinematic voice that was always raw and personal.

Jan 27, 2017 — In a series of tautly constructed marriage dramas, filmmaker Asghar Farhadi has proven himself a remarkable observer of the social, moral, and personal dimensions that shape contemporary Iranian society.

Jan 9, 2017 — A feast of whip-smart banter, Howard Hawks’s protofeminist take on newsroom politics is the most grown-up of all remarriage comedies.

Jan 9, 2017 — Since its inception more than a half-century ago, the National Society of Film Critics has maintained its reputation for championing idiosyncratic and independent voices during the commercially driven awards season, with past best picture awards going to films like Michelangelo...

Nov 22, 2016 — The result of a notoriously troubled production, Marlon Brando’s unorthodox western presents a brooding vision of human futility.