How to Fish

Nov 29, 2018 — The largest retrospective in the U.S. yet is on through mid-December.

Oct 16, 2018 — Seen as a light-hearted farce upon its release, this star-studded comedy by Hal Ashby stands as one of Hollywood’s most prescient portraits of post-Watergate politics.

May 20, 2018 — A lifelong movie collector remembers the thrill of discovering the granddaddy of all monsters on Super 8.

Feb 28, 2018 — A few days ago, we ran an essay here by Pico Iyer on Satyajit Ray’s The Hero (1966), followed by Meheli Sen’s comments on Uttam Kumar’s performance within the context of his stardom. Iyer has more to say and, writing...

Feb 13, 2018 — Lucrecia Martel was at the International Film Festival Rotterdam this year not only to present Zama but also to deliver a masterclass. Giovanni Marchini Camia was there, and reports for Filmmaker: To illustrate her conception of mise en scène, Martel...

Sep 28, 2017 — “If you’ve never seen The Last Detail, Hal Ashby’s 1973 comedy-drama about three Navy sailors on a debauched and ultimately tragic road trip, there are several reasons to rectify that,” begins Dana Stevens at Slate. “There’s a devilishly charismatic performance...

Sep 24, 2017 — For the final issue in print of the Village Voice, Bilge Ebiri talks with Jonas Mekas, “the 94-year-old filmmaker, artist, critic, poet, photographer, cinema owner, and all-around underground impresario who transformed film criticism, filmmaking, and exhibition throughout the 1960s and...

Sep 4, 2017 — Let’s start with the Telegraph’s Robbie Collin: “‘We all have history,’ shrugs Addie Moore, a widow living in small-town Colorado, when a friend advises that her new beau—a twinklingly handsome widower from a few doors down the street, called Louis...

Jan 13, 2017 — Did You See This? In remembrance of the late, great David Bowie, Sight & Sound examines the icon’s connection to cinema. Apart from his on-screen appearances, the influence of film manifests in everything from his groundbreaking videos and “widescreen” musical...

Oct 16, 2013 — Georges Franju deftly balances fantasy and realism, clinical detachment and operatic emotion, beauty and pain, all presided over by Edith Scob’s haunting, haunted eyes.