Be My Master

Apr 2, 2021 — This week people are writing and talking about Eric Rohmer, Michael Mann, Adam Curtis, the new Jump Cut, and the king of the “geezer teasers.”

Mar 29, 2021 — Channel Calendars Next month, the Criterion Channel ups the ante with a collection of some of the greatest films ever made about the pulse-racing highs and gutter-dwelling lows of gambling. We’re also dealing out the Marx Brothers’ anarchic comedies, sublime...

Mar 9, 2021 — “Oral tradition is a tradition of images. What is said is stronger than what is written; the word addresses itself to the imagination, not the ear. Imagination creates the image and the image creates cinema, so we are in direct...

Jan 20, 2021 — Knausgaard on Bergman and Adam Nayman on Armond White on Steven Spielberg are among this month’s highlights.

Jan 7, 2021 — That Obscure Object of Desire (1977) is often referred to as Luis Buñuel’s “testament” work, the apotheosis of his remarkable career as a filmmaker. It perfectly blends the type of outrageous surrealism he pioneered in the late twenties and early...

Nov 30, 2020 — Channel Calendars As the year draws to an end, we’re turning our gaze toward things to come, with an international, intergalactic program of Afrofuturist visions of Black creativity, resistance, and freedom. That’s just the beginning of our holiday bounty: we’ve...

Oct 22, 2020 — 1.     Jimmy Ringo, the protagonist of the 1950 western The Gunfighter, is based on real-life nineteenth-century outlaw John Peters Ringgold, better known as Johnny Ringo. One of Tombstone, Arizona’s most notorious gunslingers, he also served as the model for the...

Oct 19, 2020 — The irrepressible spirit of Pasolini wafts in and out of this month’s round.

Oct 7, 2020 — Martin Scorsese’s World Cinema Project No. 3 Spanning almost fifty years and four continents, Criterion’s recently released third collection of films restored by The Film Foundation’s World Cinema Project is a treasure trove of discoveries, each illuminated by a unique...

Sep 11, 2020 — As Toronto opens, here’s an overview of early critical response to some of the festival’s titles arriving directly from their premieres in Venice.