Greg

Jun 15, 2016 — Although afflicted by on-set drama and offscreen tragedy, Jean Renoir’s La Chienne shows the director’s early mastery of sound cinema and features the trademarks that would come to define his style.

Jun 6, 2016 — For the Paris Review’s site, Dante A. Ciampaglia writes about the midcentury film writing of artist-writer-poet-filmmaker and all-around New York legend Jonas Mekas. For more than half a century, Mekas, now ninety-three, has been changing the landscape of experimental film,...

Apr 26, 2016 — “It is not an exaggeration to say that before Primary, documentary as we know it today—the art of candid observation—didn’t exist,” writes Thom Powers.

Apr 8, 2016 — Ten years ago, with the release of his debut film Reprise, a spirited drama about two young aspiring novelists, Norwegian filmmaker Joachim Trier emerged as one of the most interesting new voices in European cinema.

Mar 15, 2016 — Set during the height of McCarthy-era paranoia and arriving in 1962, in the middle of the Cuban Missile Crisis, John Frankenheimer’s high-anxiety Communist conspiracy thriller tapped into the darkest fears of Cold War America.

Jan 5, 2016 — The late Haskell Wexler wore many hats—he was an independent, impassioned documentarian; a commercial Hollywood cinematographer; a political and social activist; an institutional (even union) contrarian. He was also an exemplar of how to live.

Jun 25, 2015 — German director Bernhard Wicki proved his uncommon cinematic skill with his heartbreaking tale of teen soldiers sent off to die near the end of World War II.

Jun 17, 2015 — Taking the form of a casual conversation, Louis Malle’s film about transformative experiences is an outgrowth of its writer-stars’ experimental theater days.

Jun 16, 2015 — For our release of A Master Builder, Jonathan Demme’s film of André Gregory and Wallace Shawn’s Henrik Ibsen adaptation, we turned to writer and New York culture maven Fran Lebowitz, a friend of Gregory and Shawn’s, to talk to the...

Jan 26, 2015 — Scenes without endings, sounds without corresponding images, actions without seeming motivation—Lucrecia Martel’s sense-heightening debut offers a cinema of subtraction.