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Oct 7, 2019 One Scene Japanese filmmaker Takashi Miike has directed more than a hundred features, and almost three decades into his career he’s showing no signs of slowing down. Throughout his ferocious, often controversial body of work, he has contorted disparate genres...

Oct 4, 2019 Artists’ and amateurs’ videos, Ida Lupino, and TIFF Cinematheque programmers’ notes all figure in this week’s round.

Sep 27, 2019 Charlie Chaplin gave The Circus (1928) one of his favorite themes, some of his most sublime gags, and an incomparably poignant ending. It’s a hugely personal work, which draws on moments from his whole career, from his early stage work...

Sep 10, 2019 In this landmark melodrama, director Ritwik Ghatak channeled his grief over the destruction of his beloved homeland, Bengal, in the wake of the Partition of India.

Aug 13, 2019 Something uncanny is brewing in George Sikharulidze’s Fatherland. This darkly comedic film transports us to a spring evening in Joseph Stalin’s birthplace—Gori, Georgia—where the townspeople have gathered on the sixty-third anniversary of their long-departed leader’s death. What follows is part...

Jul 29, 2019 The late Dutch actor worked with directors as varied as Paul Verhoeven, Ermanno Olmi, Ridley Scott, and Nicolas Roeg.

Jul 17, 2019 The program of more than three hundred films includes new work by Pedro Costa, Koji Fukada, and Jeanne Balibar.

May 29, 2019 Once again, Lav Diaz and Takashi Miike did what they do; but the Fortnight also showcased a wide range of promising talent.

May 29, 2019 In Anna Biller’s vibrantly colored fantasias, there’s not a glimmer of a sequin that hasn’t been envisioned by the artist herself. A writer, director, actor, producer, editor, composer, costume and production designer, and set decorator, she’s a one-woman studio, building...

May 21, 2019 Claire Denis’s Let the Sunshine In (2017) is one of the great films about middle-aged loneliness, specifically—though not exclusively—as women feel it. It’s not a dating movie, though there’s dating in it. And it’s not a feeling-sorry-for-oneself movie, though there are...

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