Oct 4, 2013 This fascinating first contact between Roberto Rossellini and Ingrid Bergman kicked off one of cinema’s greatest—and most controversial—love affairs.

Jun 19, 2013 Disorienting, brutal, and bloody beautiful, František Vláčil’s epic is a dark medieval vision teeming with cinematic invention.

Jul 6, 2012 Samuel Fuller wrote this extraordinary “interview” piece shortly after White Dog was completed. It appeared in issue 19 of the journal Framework in 1982, with this introduction: “The director of Paramount’s White Dog interviewed the title actor of the movie...

Oct 26, 2011 Performances The galumphing hulk who terrorized early sound cinema audiences in Frankenstein (1931) and The Mummy (1932), Boris Karloff was the movies’ politest monster. Even in his darkest on-screen moments, the London-born Karloff (né William Henry Pratt) exhibited a regal...

Apr 12, 2011 Siddhartha Gautama, the Buddha, drew a circle with a piece of red chalk and said: “When men, even unknowingly, are to meet one day, whatever may befall each, whatever their diverging paths, on the said day, they will inevitably come...

Nov 16, 2010 The Night of the Hunter (1955)—the first film directed by Charles Laughton and also, sadly, the last—is among the greatest horror movies ever made, and perhaps, of that select company, the most irreducibly American in spirit. It’s about those venerable...

This Japanese visionary played chaos like jazz in his movies, which included anything-goes yakuza thrillers and daring postwar dramas of human frailty.

Oct 22, 2009 Almost a decade ago, Catherine Breillat, one of contemporary cinema’s great provocateurs, gave us Fat Girl (À ma soeur!), a disturbing and graphic look at the pitfalls of adolescent sexuality from the point of view of a pair of young sisters....

Apr 20, 2009 The French scientist-educator-filmmaker Jean Painlevé’s groundbreaking work consistently revealed not only a commitment to informed science and effective communication but to the creative expression of ideas.

Nov 19, 2008 Albert Lamorisse’s principled balancing of objective fact with childish wish fulfillment results in a new, paradoxical genre—the documentary of dreams.

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