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Mar 27, 2019 — From the beginning of his career, Mexican filmmaker Carlos Reygadas has strived to find a balance between careful planning and the spontaneity of the moment. For our edition of his feature debut, Japón, an existential tale that follows the spiritual...

Mar 26, 2019 — Austrian émigré Edgar G. Ulmer may not have become a widely celebrated figure during his lifetime the way his compatriot Billy Wilder did, but his career was nonetheless a marvel of persistence and resourcefulness. By the late 1930s, the director,...

Mar 26, 2019 — As BAM prepares to present the largest U.S. retrospective yet, we look back on the singular oeuvre.

Mar 26, 2019 — It’s the afternoon of February 8, 1964, and Ed Sullivan has assembled a gaggle of CBS ushers to talk about tomorrow night’s show, featuring the four lads from Liverpool who call themselves the Beetles—strike that, the Beatles. He needs to...

Mar 25, 2019 — In early 2007 the UCLA Film & Television Archive received a call from Hollywood Film and Video announcing that the lab was, sadly, closing—and clearing its vaults in two days’ time. Anything left was doomed to the dumpster. The next...

Mar 22, 2019 — This week spotlights George Cukor, Chantal Akerman, Straub-Huillet, Antonioni, and the feud between Clint Eastwood and Pauline Kael.

Mar 22, 2019 — The Criterion Channel launches on April 8, and we’re excited to share our first month’s lineup! The April calendar of thematic programming highlights an eclectic mix of classic and contemporary films from Hollywood and around the world, many not streaming anywhere...

Mar 21, 2019 — “The world is full of skeptics,” Detour’s Al Roberts struggles to explain, in voice-over, while on-screen we’re pondering Vera’s dead body. “I know. I’m one myself . . .”Even now, closing in on seventy-five years after the Producers Releasing Corporation...

Mar 21, 2019 — As Quentin Tarantino releases the first trailer for Once Upon a Time in Hollywood, the Cannes lineup guessing game is on.

Mar 20, 2019 — Anatomy of a Gag Harold Lloyd may not have had the melancholy disposition of his silent-clown competitors Charlie Chaplin and Buster Keaton, but he knew how to introduce elements of menace and peril into his comedies in a way that...