Life

Dec 18, 2016 — Imogen Sara Smith examines the tensions between tradition and modernity reflected in two silent crime films by Yasujiro Ozu and Tomu Uchida.

Dec 16, 2016 — One of the most ambitious achievements of Italian master Ermanno Olmi’s career, The Tree of Wooden Clogs opens at New York’s Film Forum today in a ravishing new 4K restoration, supervised by the director himself. Made in close collaboration with...

Dec 13, 2016 — John Huston’s meticulously calibrated crime film combines nail-biting suspense with a mood of Chekhovian regret.

Dec 7, 2016 — Three decades after her concert film Home of the Brave, multimedia artist Laurie Anderson returned to the big screen with her 2015 sophomore feature, Heart of a Dog. In this visually intricate, sonically haunting nonfiction work, Anderson’s grief over the...

Dec 6, 2016 — This elegiac meditation on impermanence showcases Laurie Anderson’s playfully experimental approach to sound and image.

Dec 1, 2016 — Repertory PicksSince September, the Berkeley Art Museum & Pacific Film Archive has been honoring the great Italian actor Anna Magnani with a career-spanning retrospective of her work. This Saturday, the series continues with Pier Paolo Pasolini’s 1962 sophomore feature, Mamma...

Nov 25, 2016 — Did You See This? In celebration of TIFF’s ongoing series Imitations of Life: The Films of Rainer Werner Fassbinder, Guy Maddin takes a look at the German master’s predilection for lush color palettes. In his latest TCM Diary for Film...

Nov 25, 2016 — In his deeply personal third feature, Noah Baumbach charts a family’s dissolution against the backdrop of 1980s literary Brooklyn.

Nov 25, 2016 — Just in time for Black Friday, two cinematic masters playfully pillory consumerism for our weekly double feature: Yasujiro Ozu’s Good Morning (1959) and Jacques Tati's Mon oncle (1958). But these wildly different virtuosos mount opposite attacks, Ozu sweetly funny in...

Nov 22, 2016 — The result of a notoriously troubled production, Marlon Brando’s unorthodox western presents a brooding vision of human futility.