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Oct 11, 2016 — Before the New York Film Festival premiere of Hermia and Helena, his 2016 riff on A Midsummer Night’s Dream, the Argentine director stopped by to discuss the Bard and the movies that shaped him as a filmmaker.

Oct 7, 2016 — The Brooklyn Rail has published a conversation between Roberto Rossellini and Salvador Allende, prefaced with an introduction by Jonas Mekas, who received the original transcript from Rossellini in the early seventies. For MUBI, Daniel Kasman explores the newly restored early...

Oct 4, 2016 — This account of a visit to the Beyond the Valley of the Dolls set is excerpted from an issue of the University of California, Los Angeles, newspaper.

Sep 30, 2016 — Did You See This? In anticipation of the fifty-fourth annual New York Film Festival, opening tonight, Indiewire has surveyed the must-see films playing in the revivals section, including Gillo Pontecorvo’s The Battle of Algiers, Tomás Gutiérrez Alea’s Memories of Underdevelopment,...

Sep 29, 2016 — Ciné, in Athens, Georgia, screens Roman Polanski’s 1968 occult masterpiece, starring Mia Farrow as a woman who believes her husband and elderly neighbors are involved in a satanic plot against her and her unborn child.

Sep 28, 2016 — The salacious sixties phenomenon of the Dirty Book made its way to the big screen in this adaptation of Jacqueline Susann’s best seller.

Sep 27, 2016 — This monumental meditation on the Ten Commandments captures the spiritual undercurrents of life in late-Communist Poland.

Sep 20, 2016 — Cloaked in chiaroscuro and innuendo, this stylistically innovative creature feature leaves its greatest horrors to the imagination.

Sep 16, 2016 — Did You See This? Over at The Quietus, director Joe Dante selects his thirteen favorite films, including David Lynch’s Mulholland Dr., Preston Sturges’s Sullivan’s Travels, and Ernst Lubitsch’s To Be or Not to Be. Angelo Badalamenti sits down with Vulture...

Sep 16, 2016 — Critic Phillip Lopate explores the duality of the director’s approach to his female protagonists and asks whether his films are proto- or antifeminist.