Tell No One

Apr 2, 2019 — Mike Leigh’s endless fascination with human behavior is palpable in every one of the films he’s made over the course of his nearly fifty-year career. With an acute sensitivity to rhythm, character, and setting, he extracts extraordinary moments from the...

Feb 6, 2019 — On the Criterion edition of Secret Sunshine, Lee Chang-dong describes his creative process as one of utter despair. That should come as no surprise to anyone who knows his work. Since making his feature debut, Green Fish, in 1997 at...

Oct 30, 2018 — Ridiculous on the outside but full of truth on the inside, Rob Reiner’s fairy-tale classic is a childhood touchstone for generations of movie lovers.

Feb 18, 2018 — Christian Petzold seems to realize that viewers are going to feel as if they’ll need a few moments to get their bearings in the world of Transit. In one swift and brilliant stroke, he denies us the luxury. Georg (Franz...

Jan 18, 2018 — The lineups for the sixty-eighth Berlin International Film Festival, running from February 15 through 25, are coming hard and fast now. Today sees rollouts for the Forum, the main attraction for many a cinephile, and the Berlinale Series. With descriptions...

Dec 20, 2017 — Over the past decade, contemporary Greek cinema has erupted onto the international film stage with a new vanguard of directors whose bold works share a taste for provocation and highly stylized worlds. This week on the Criterion Channel on FilmStruck,...

May 19, 2017 — Let’s open today’s round of interviews with one from the archives, a conversation with Michelangelo Antonioni that originally ran in Corriere della Sera in 1982 but evidently took place during the final stages of shooting Blow-Up (1966). It’s been translated...

May 26, 2016 — During the conductor and composer’s visit—a day after he’d led the New York Philharmonic in a live orchestral performance of the score to City Lights—we talked about his love for early cinema, the delicate process of restoring Chaplin’s music, and...

Jan 26, 2015 — Scenes without endings, sounds without corresponding images, actions without seeming motivation—Lucrecia Martel’s sense-heightening debut offers a cinema of subtraction.

Jan 21, 2015 — Money can’t buy love and happiness in Preston Sturges’s classic comedy—or can it?