Can-Can

Jan 8, 2013 — The two movies that opened the door to “youth culture” in Hollywood, The Graduate and Easy Rider, were milestones, to be sure. But can it really be said that they were milestones in the art of cinema? “I think The...

Jan 8, 2013 — In Monte Hellman’s hypnotic road movie Two-Lane Blacktop, folk singer James Taylor gives a lead performance that is both unassuming and arresting, the kind of askew, unshowy, vanity-free acting that perhaps only a nonprofessional actor is capable of. As the...

Jan 2, 2013 — Performances Hirokazu Kore-eda’s Still Walking is an exquisitely lived-in portrayal of family life. It takes place largely over the course of one day, at the home of the aging Yokoyamas, Toshiko (Kirin Kiki) and Kyohei (Yoshio Harada), as they welcome...

Dec 18, 2012 — One Scene Every time I watch Ingmar Bergman’s Scenes from a Marriage, I am stunned that a film could be so full. Here is this thing stuffed with detail, design, behavior, emotion, surprise, and skill. Like Fanny and Alexander and...

Dec 12, 2012 — Even with limited resources, Christopher Nolan proved a force to be reckoned with in his thrilling, auspicious debut.

Dec 12, 2012 — Some directors learn their craft in school. Others acquire skills on the job. Christopher Nolan, who never studied film, seems to just have cinema in his blood. In this clip from a new interview on our special edition release of...

Dec 11, 2012 — The climate change expert discusses how Godfrey Reggio’s films presaged widespread concern about global warming and warned about the dangers of consumerism.

Dec 11, 2012 — Cinema is both an educational tool and a vessel for kinetic, avant-garde expression for filmmaker and activist Godfrey Reggio.

Dec 5, 2012 — The following is excerpted from an interview that originally appeared in the February 1, 1981, issue of L’avant-scène: Cinéma. It was conducted by Olivier Eyquem and Jean-Claude Missiaen. Eyquem is a documentalist and former staff member at Positif; he blogs...

Dec 5, 2012 — In René Clément’s sparkling but menacing anti-noir, the Mediterranean setting is as seductive as Alain Delon’s baby blues.