Man with a Movie Camera

Sep 5, 2017 — “If the only thing we wanted, or expected, a horror film to do was to get a rise out of you—to make your eyes widen and your jaw drop, to leave you in breathless chortling spasms of WTF disbelief—then Darren...

Sep 5, 2017 — “Apparently the word refers to an actual traumatic state caused by getting lost in a forest,” begins Jonathan Romney in Screen. “However, if the title Woodshock leads you to expect a horror movie about the results of bad acid at...

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...

Apr 5, 2017 — An exhibition in New York showcases the great French filmmaker’s gallery art, ranging from photographic portraits to installations that blend still and moving images.

Nov 3, 2016 — Our first Friday Night Double Feature on the Criterion Channel pairs two chilling serial-killer films: Fritz Lang’s M and Jonathan Demme’s The Silence of the Lambs.

Aug 13, 2015 — The films Agnès Varda made while living on the West Coast of the United States are some of the most searching and challenging of her stellar career.

Jun 10, 2014 — Douglas Sirk once said: “This is the dialectic—there is a very short distance between high art and trash, and trash that contains an element of craziness is by this very quality nearer to art.” When All That Heaven Allows was...

Aug 5, 2013 — For those of us who rank The Earrings of Madame de . . . at the top of our list of all-time favorite films, the mystery is why our passion isn’t universally shared. Every year, thanks to committed revival houses,...

Aug 23, 2011 — Intimidation: The Weird Dream MakerImpassioned and dedicated craftsman of some of Japanese cinema’s biggest box-office successes and most eccentric off-genre sorties, longtime Nikkatsu studios mainstay Koreyoshi Kurahara (1927–2002) was a filmmaker with two opposite yet inseparable signature points of view....

Aug 16, 2011 — “It is my best film. I always loved it. I always believed in it. It is real cinema, done for cinema—like art for art.” That was Roman Polanski’s view of Cul-de-sac in 1970, four years after its release and just...