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Mar 4, 1989 — Alec Guinness used his new-found prominence and clout to initiate a long-cherished ambition, to bring Joyce Cary’s most famous novel to the screen.

The singer-songwriter reminisces about the pleasure of discovering Czechoslovak New Wave films on trips to the video store, shares why Moonstruck ignited her Nicolas Cage fandom, and praises the use of classical music in The Piano Teacher.

The writer and director shares his love for Monterey Pop and the way it acts as a time capsule of its era, talks about how The Worst Person in the World redefined the romantic comedy, and praises Wes Anderson’s use...

The fashion designer shares his close personal connections to Withnail and I and My Beautiful Launderette, finds inspiration in Breathless, and praises Akira Kurosawa’s use of color in Kagemusha.

The writer and director of Magellan praises the use of silence and space in Le samouraï, talks about how Mike Leigh and Kenji Mizoguchi explore the human condition in their films, and selects his good friend Béla Tarr's Werckmeister Harmonies.

The actor praises the Dardenne brothers compassionate approach to filmmaking, talks about Michael Haneke’s use of long takes in Code Unknown, and gets excited to explore The Wes Anderson Archive.

The actor talks about Steven Soderbergh’s use of nonlinear storytelling in Traffic, shares how Sid & Nancy continues to inspire him as a performer, and praises the visual poetry of Drugstore Cowboy.

The acclaimed cinematographer of Amores perros, The Irishman, 25th Hour, and Silence uses his selections to talk about the details of cinematic lighting, color, and sound design.

Nov 18, 2025 — A pre-Code aviation epic that makes pioneering use of the era’s innovations in cinematic color and sound, Howard Hughes’s directorial debut was Hollywood’s first modern portrait of World War I.

Oct 29, 2018 — Professor Jeff Smith breaks down how François Truffaut’s loving tribute to the crime genre Shoot the Piano Player uses anamorphic widescreen compositions to stylish effect.