In Black and White

Feb 28, 2018 — With the Oscars coming up this weekend, we gathered some highlights from an in-depth conversation with five of this year’s most-lauded directors.

Oct 10, 2017 — Philippe Garrel will introduce this evening’s presentation of a new restoration of his 1979 film L’Enfant secret, starring the late Anne Wiazemsky (image above), and then take part in Q&As later tonight and again tomorrow (with his daughter Esther Garrel)...

Sep 21, 2017 — The editors of Senses of Cinema open Issue 84 with a “near exhaustive dossier” on Christian Petzold and a second entitled “Sartre at the Movies.” Here, “one of the world’s foremost scholars of French cinema, Dudley Andrew, explores the ideas...

Jul 5, 2017 — Robert Pattinson is on the cover of the new issue of Film Comment and online we find a brief excerpt from editor Nicolas Rapold’s interview with the star of Josh and Benny Safdie’s Good Time.Amy Taubin describes what, for her,...

Feb 17, 2017 — In 1970, legendary filmmaker Roger Corman founded New World Pictures, an independent studio that produced and distributed everything from B-movies and exploitation films to acclaimed foreign art-house fare by Federico Fellini, François Truffaut, and Ingmar Bergman. It became a breeding...

Nov 15, 2016 — Akira Kurosawa lays bare his deepest fears in this visually astonishing interpretation of folklore, myth, and the director’s own dreams and memories.

Sep 24, 2015 — Bruce Beresford critiques the British colonialist era in this precise, layered adaptation of a 1939 novel by Joyce Cary.

Apr 27, 2014 — A leading light of commedia all’italiana, Dino Risi specialized in fleet, satirical takes on contemporary Italian culture, and this road-trip smash was his most trenchant.

Jan 11, 2011 — Given the scarcity of information available in the sixties, director Byron Haskin did a remarkable job of representing some of the conditions on our nearest planetary neighbor, nearly a year before the first close-up views of the real Martian surface.

Jun 11, 2007 — Claude Berri’s witty comedy-drama depicts Nazi sympathizers with three-dimensional candor, neither whitewashing nor apologizing for their misguided ideas.