Love One Another

Jan 21, 2009 — It’s a clichéd truism that moviemaking is a collaborative art. Of course it is, and there are dozens, if not hundreds, of examples of directors working time and again with the same crew members, trusted writers, cameramen, production designers, editors,...

Jan 21, 2008 — The feminist politics of Agnès Varda’s marital drama were ahead of their time, but it is on the level of form that the film is so unsettling and calls up contradictory interpretations.

Nov 19, 2007 — Ingmar Bergman made some outstanding films before Sawdust and Tinsel (1953). But that film, released in America under the meretricious title The Naked Night—and known in Sweden as The Clown’s Evening—was the first that no other director could have made....

Nov 19, 2001 — Alfred Hitchcock’s first film in Hollywood is his earliest definitive statement on male domination and female subjugation.

Nov 11, 2002 — Continued from Anatomy of a Love Festival - Part One The real turn-on, though, was the music—twenty-two hours of it, divided into solid chunks that usually ran more than thirty minutes. Friday night was the epitome of what San Francisco...

Feb 22, 2012 — Oren Moverman, who appears as a visitor to the theater in Vanya on 42nd Street, is the cowriter and director of the 2010 Oscar-nominated The Messenger. He served as a screenwriter on I’m Not There, Married Life, and Jesus’ Son,...

Sep 8, 1998 — In David Lean’s Summertime, in which Rossano Brazzi seduces Katharine Hepburn—an aging, repressed Ohio “working girl” on vacation in Venice—the Continental lover reached his pinnacle and approached his end. In the next decade, he would be embodied by Marcello Mastroianni,...

Feb 13, 2017 — One Scene Romantic love is poignant because it is an infinite feeling that exists in a finite frame. And Richard Linklater’s Before Trilogy is the most romantic and profound of love stories because it imbues love with the weight of...

Mar 4, 2002 — Wong Kar-wai’s biggest commercial success to date elevated him to the mainstream of international art house cinema, and it echoes the end of an era with pure melancholic power.

Jan 22, 2026 — This visually stunning masterpiece from Kazakh New Wave iconoclast Ardak Amirkulov is one of the few films that looks evil in the eye without flinching.