The Italian

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

Aug 18, 2020 — A sensuous exploration of amorous discontent and dreadful miscalculation, The Comfort of Strangers (1990) could be described as an erotic thriller, though it rarely is: its eroticism is too perverse, its pedigree too highbrow. Directed by Paul Schrader and based...

Apr 3, 2019 — This month’s round features Dalí’s Marx Brothers movie, Bergman family drama, Welles’s unpublished play, and more.

Jun 15, 2017 — New York. “Among the most savage and surreal of Italian comedies, starring one of the country’s biggest stars”—Alberto Sordi—“and directed by one of its legendary filmmakers, Vittorio De Sica’s Il Boom barely made a ripple when first released, in 1963,...

Jun 1, 2017 — “The greatest filmmakers, like the greatest novelists and poets, are trying to create a sense of communion with the viewer,” writes Martin Scorsese in the new issue of the TLS. “They’re not trying to seduce them or overtake them, but,...

Apr 5, 2017 — An exhibition in New York showcases the great French filmmaker’s gallery art, ranging from photographic portraits to installations that blend still and moving images.

Sep 6, 2012 — Repertory PicksStarting this week, the University of Wisconsin-Madison Cinematheque joins forces with the university’s Chazen Museum of Art to cast a spotlight on Italian art. In conjunction with the Chazen’s exhibition Offering of the Angels: Paintings and Tapestries from the...

With his stunning visuals, ambiguous narratives, and still relevant focus on modern alienation, this Italian master ushered in a new European art cinema permeated by a distinctly contemporary ennui.

Oct 22, 2009 — The eighty-one-year-old Ennio Morricone has been composing hypnotic music for film since the early 1960s, for projects ranging from spaghetti westerns (his whistling, woodwindy five-note theme for The Good, the Bad and the Ugly is one of the most recognizable...

Oct 27, 2003 — Attuned to the ineffable weirdness and crushing mundanity of workplace paranoia, Steven Soderbergh’s film finds anger and sorrow in the way we brutalize our means of communication