This Is the End

Nov 13, 2012 — Rejecting the orientalism of other adaptations, Pier Paolo Pasolini’s take on the classic tales is humane and erotic.

Nov 6, 2012 — When Akira Kurosawa made Rashomon (1950), he was a forty-year-old director working near the beginning of a career that would last fifty years, produce some of the greatest films ever made, and exert a tremendous and lasting influence on filmmaking...

Oct 28, 2011 — The following is excerpted from a 1972 interview that film scholar Joan Mellen conducted with director Kaneto Shindo. The interview originally appeared in the 1975 book Voices from the Japanese Cinema. I find the social dimension of your films very...

May 22, 2020 — Walking, like breathing, is something we do without thinking, an activity so common that pedestrian has as its second meaning uninspired, ordinary, dull. But when this action appears in a movie, it is revealed as more than the original mode...

Jun 25, 2024 — Barry Jenkins’s extraordinarily ambitious limited series distinguishes itself in the tradition of the cinematic slavery epic through its understanding that Black joy and Black trauma cannot be cleaved from each other.

Dec 10, 2019 — Wim Wenders has often referred to his Until the End of the World (1991) as the “ultimate road movie,” and even he may not realize how accurate that description has turned out to be. It certainly was, and remains, the...

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.

Mar 13, 2025 — While a film’s stars are forced to bear the responsibility of moving a narrative forward, supporting actors get to have fun providing comic relief or suggesting whole lives being lived beyond the screen.

Mar 7, 2018 — A Wrinkle in Time, the adaptation of Madeleine L’Engle’s 1962 science fiction classic, “directed by Ava DuVernay from a screenplay by Jennifer Lee and Jeff Stockwell, has been a long time coming,” writes A. O. Scott in the New York...

Dec 6, 2016 — This elegiac meditation on impermanence showcases Laurie Anderson’s playfully experimental approach to sound and image.