The We and the I

Apr 16, 2007 — Jules Dassin’s noir is arguably the meatiest and most resonant prison film ever made in Hollywood, drawing explicit parallels to the Nazi encampment experience.

Mar 16, 2007 — The first of his films to be shown outside Japan, Ichikawa Kon’s twenty-seventh feature dramatically raised the director’s profile.

Feb 12, 2007 — In this classical whodunit made just after the close of World War II, swirling sexual frustrations and resentments find expression in a series of apparently motiveless murders.

Oct 24, 2005 — The hero in Masahiro Shinoda’s popular samurai movie is both a genre figure and an ordinary character, both killer and savior, both larger than life and lost in the mists.

Jun 21, 2004 — Indefatigably productive, ingenious, exasperating, narcissistically didactic, slyly self-promoting, abject, generous, exploitative, devoted to the wretched of the earth with honest fervor and deluded romanticism: Pier Paolo Pasolini can easily exhaust the adjective-prone, as man and artist, his person and his...

Jul 14, 2026 — One of the funniest and most affecting scenes in 1970s Hollywood cinema is also one of the most quietly radical—no small feat in a decade of movies marked by wiggy experimentation, explosions of brutal and cathartic violence, and shaggy new...

Jul 8, 2026 — Around five hundred films—restorations, revivals, rediscoveries—screened last month in Bologna.

Jun 22, 2026 — A quiet highlight of last fall’s festival season, Milagros Mumenthaler’s third feature tours theaters through July.

Apr 20, 2026 — For half a century, she was, as Emmanuel Macron put it, “a constant presence in French cinema.”

Mar 30, 2026 — This year’s Hong Kong International Film Festival will present twelve Chinese-language classics.