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Jun 21, 2004 — Nouvelle vague euphoria was at its height when Jean-Luc Godard made his enormously clever third feature.

May 17, 2004 — Banned by the Third Reich before it was even released, Fritz Lang’s denunciation of Nazi Germany is a compellingly contemporary image of terrorism in an age of universal conspiracy and advanced technology.

Jun 23, 2003 — The following text is from Michael Töteberg’s presentation of a collection of Fassbinder screenplays (The Merchant of Four Seasons, Ali: Fear Eats the Soul, Fontane Effi Briest), which were published in Germany as Fassbinders Filme, Band 3 (Fassbinder’s Films, Vol....

Jan 6, 2003 — With its casually comfortable exoticism, abstruse locale, and beautifully sympathetic anti-hero, Julien Duvivier’s film established a narrative paradigm that persists today.

Sep 23, 2002 — In 1940 and 1941, David O. Selznick won back-to-back Academy Awards for Best Picture. In 1942, unsurprisingly, he was depressed. His wife, Irene, persuaded him to seek help, and, less than one year later, hale and hardy, he was eager...

Mar 4, 2002 — Wong Kar-wai’s biggest commercial success to date elevated him to the mainstream of international art house cinema, and it echoes the end of an era with pure melancholic power.

Feb 11, 2002 — The last, best, and funniest movie Milos Forman would make in his native Czechoslovakia is a deceptively simple miniature.

Jul 17, 2000 — Designed to steam viewers’ glasses, Roger Vadim’s directorial debut boldly announced the arrival of Brigitte Bardot.

Jun 26, 2000 — Kevin Smith writes about his third feature as a sort of penance/valentine for the woman who made him grow up.

Nov 15, 1999 — Michael Powell’s controversial late film makes the cinema spectator’s own voyeurism shockingly obvious.