About Love

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,...

Oct 9, 2017 — “Jeanne (Esther Garrel) crouches in an alleyway at night, her face a fountain of tears,” begins Carson Lund at Slant. “She’s just been dumped by Matéo (Paul Toucang) and kicked out of their shared Paris apartment. Seeking refuge, she walks...

Sep 28, 2017 — “If you’ve never seen The Last Detail, Hal Ashby’s 1973 comedy-drama about three Navy sailors on a debauched and ultimately tragic road trip, there are several reasons to rectify that,” begins Dana Stevens at Slate. “There’s a devilishly charismatic performance...

Sep 2, 2017 — Remembering Jerry Lewis in a piece for the Guardian, Martin Scorsese recalls working with him on King of Comedy: “Jerry Langford was an uncomfortable role for him to play, because he was skirting the edges of his own life in...

Oct 26, 2016 — The tropes of light comedy give way to a Kafkaesque nightmare in this incendiary critique of moral rot in Franco-era Spain.

Sep 2, 2015 — We love it when great novelists write about cinema—they’re often able to capture something ineffable and magical about the form that critics may have come to take for granted. Case in point: the New York Review of Books has posted...

May 11, 2015 — The poignancy of Leo McCarey's tearjerker is due as much to the director's scrupulous aesthetic choices as his unforgettable characters and story.

Dec 13, 2013 — Metin Erksan’s shocking and sensuous tale of greed and rural life was part of a vibrant Turkish cinema of the fifties and sixties.

Aug 28, 2000 — Good Morning is the wildcard in Yasujiro Ozu’s career, the film that looks least like all his others, and one of the few where he sees the world through childrens’ eyes rather than those of an old man.For many years,...

Sep 28, 2022 — Cameroonian director Dikongué-Pipa’s debut feature is both a manifesto on cinema’s capacity to bring about social change and a celebration of love and its possibilities.