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Aug 26, 2015 — Here’s an item of interest to everybody who feels Bob Dylan’s words are pure gold. Like last year, when Dylan’s original handwritten lyrics for “Like a Rolling Stone” were sold for over two million dollars at Sotheby’s, an original typewritten...

Aug 25, 2015 — In Jean-Pierre and Luc Dardenne’s moving and humane critique of capitalism, true interpersonal communication is the only thing that can save us.

Aug 24, 2015 — As part of a wide-ranging new interview for New York magazine, über-cinephile and genre master Quentin Tarantino reflects thoughtfully on the western’s mutable qualities and how it has always revealed something about its times: “The westerns of the ’50s reflected...

Aug 17, 2015 — François Truffaut’s love letter to the movies is a lightheartedly self-reflexive symphony of camera movement and musical flourish.

Aug 13, 2015 — The films Agnès Varda made while living on the West Coast of the United States are some of the most searching and challenging of her stellar career.

Aug 12, 2015 — Director Karel Reisz and writer Harold Pinter’s brilliant adaptation of John Fowles’s novel focuses on the experiences of women in two radically different eras.

Jul 30, 2015 — It is now thirty years since the release of Stephen Frears’s film, which was both a product of and a response to the social and political landscape of 1980s Britain and depicted the lives of Pakistani immigrants with wit and...

Jul 27, 2015 — 1. My Beautiful Laundrette launched a number of careers: that of writer Hanif Kureishi, soon to be regarded as one of the most important voices of his generation; those of producers Tim Bevan and Sarah Radclyffe, whose then fledgling company, Working...

Jul 23, 2015 — The composer is credited with scoring eleven films for Bergman—among them Smiles of a Summer Night (1955), Wild Strawberries (1957), and The Magician (1958)—the last being The Virgin Spring (1960), with its evocative use of medieval instruments.

Jul 22, 2015 — Stephen Frears brings a playful and shimmering cinematic quality to Hanif Kureishi’s multilayered script about a Pakistani immigrant community in Margaret Thatcher–era London.