Aug 28, 2023 Throughout her four-decade career as a writer and director, Susan Seidelman has told complex stories about unconventional women striving to express themselves and maintain their autonomy. Her genre-melding films fuse a passion for the pleasures of Hollywood spectacle with a...

Aug 21, 2023 Channel Calendars This September, the Channel welcomes you back to school . . . where something sinister is afoot. Our High School Horror collection brings together cult classics and teen-slasher favorites for a bloodcurdling look at the scary side of...

Aug 15, 2023 Wayne Wang is perhaps best known as a cinematic chameleon. Working both inside and outside of the Hollywood ecosystem, he has consistently demonstrated a restless curiosity about a wide range of cultures and filmic traditions. In addition to directing two...

Aug 10, 2023 “You’re the company I waited so long for,” Dr. Rosetta Stone (Tilda Swinton) says to her three Self Replicating Automatons in Teknolust (2002), artist Lynn Hershman Leeson’s sci-fi farce about a scientist’s well-meaning pursuit of artificial life. Stone’s color-coded clones...

Aug 8, 2023 Premiering in competition, Do Not Expect Too Much from the End of the World is an immediate critical favorite.

Aug 7, 2023 In a tribute to Elvis Presley that aired on Turner Classic Movies, Kurt Russell says that “an Elvis movie is always worth watching because of Elvis.” This insight gets at a core truth about a much maligned and mostly dismissed...

Aug 1, 2023 “Do you want me to turn them loose?” This is what cowboy Perce asks a sad-eyed Roslyn in John Huston’s elegiac The Misfits (1961), and that one question about untying the mustangs he and fellow wranglers Gay (Clark Gable) and...

Jul 31, 2023 Featuring restorations of films by Chaplin, Henry King, Frank Borzage, Allan Dwan, the Museum’s series starts Wednesday.

Japan Cuts 2023

The Daily

Jul 26, 2023 Anime, family drama, Roman Porno: New York’s Japan Society presents a wide-ranging showcase of recent Japanese cinema.

Jul 25, 2023 A master class in dramatic tension and pacing, Carl Franklin’s neonoir masterpiece explores the desperate energy and desperate deeds that fuel real crime.

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