The Love Trap

Aug 22, 2024 — This year, Bologna’s annual feast of restorations and rediscoveries showcased one of the most ambitious masterpieces of the silent era, the melodramas of Japanese filmmaker Kozaburo Yoshimura, and other treasures of film history.

May 1, 2024 — Films by Horace Ové, Menelik Shabazz, John Akomfrah, Isaac Julien, and more depict Black lives in a tumultuous era.

Mar 1, 2022 — The first film I saw at last year’s Morelia International Film Festival opens on the image of a freshly dug grave. Shovelfuls of earth fall into the open pit as two doctors stand above it, lamenting the loss of yet...

Aug 12, 2019 — This month we’re looking at titles by or about Chantal Akerman, Orson Welles, Chris Marker, Kathleen Collins, and many more filmmakers and writers.

Oct 8, 2017 — Lady Bird screens at the New York Film Festival this evening and tomorrow night, and we begin with Filmmaker’s Scott Macaulay: “Greta Gerwig makes her directorial debut with this controlled, coolly compassionate and autobiographical-feeling post-9/11 teenage tale. Saoirse Ronan plays...

May 21, 2017 — Tonight, Sunday, May 21, 2017, Twin Peaks returns, just as Laura Palmer (may have) predicted it would twenty-five years ago, give or take. Eighteen one-hour episodes, all directed by David Lynch and cowritten with the show’s original co-creator, Mark Frost....

Oct 25, 2013 — "I“m not acting,” stage star Myrtle Gordon (Gena Rowlands) tells her bemused director after a violent episode with her ghostly muse in Opening Night. That’s a loaded claim to be making in a movie that so conclusively smudges the line...

Sep 26, 2013 — Roberto Rossellini officially left neorealism behind with his modern masterpiece, an intimate tale of marriage on the rocks.

Mar 18, 2020 — People talk a lot about the way that Rita Hayworth looked. She was the Hollywood “love goddess,” with a sensational figure, a dazzling smile, and hair that fell in long, auburn waves. The pinup so iconic that her posters were...

Dec 10, 2014 — Social satire, women’s melodrama, queer metaphor, or horror movie? Todd Haynes’s elusive masterpiece is all of these and none of them.