This Is Not a Film

May 18, 2017 — “Todd Haynes’s films, intellectually rigorous and often profoundly moving, are fractured stories in which alienated, beautiful characters try to find love (or a certain likeness) in the delicate folds of real life,” begins David Ehrlich at IndieWire. “All of this...

May 18, 2017 — Loveless is “two hours of gorgeously gloomy existential despair courtesy of the well-regarded Russian filmmaker Andrey Zvyagintsev,” writes Justin Chang in the Los Angeles Times. “Often touted as an heir to Tarkovsky, Russian cinema’s other famously austere Andrey, Zvyagintsev previously...

Mar 29, 2016 — Les Blank’s long-lost documentary revels in the trippy, eccentric world of and surrounding Tulsa Sound pioneer Leon Russell, transforming what might have been a standard concert movie into a genuine work of art.

Oct 15, 2013 — Georges Franju’s masterpiece is the most chilling expression in cinema of our ancient preoccupation with the nature of identity.

Sep 4, 2019 — With their novelistic density and sexual openness, the films of French master André Téchiné introduced director Stephen Cone to a strange new world of contradictions.

Feb 27, 2023 — Among the highlights this month is a series celebrating Oscar nominee Michelle Yeoh, an international star who began her career as one of Hong Kong cinema’s fiercest action heroes.

Apr 8, 2021 — An eighty-year-old widow defies the engines of progress in Lemohang Jeremiah Mosese’s latest feature.

May 22, 2017 — “At the risk of accidentally donating three words to the poster, How to Talk to Girls at Parties looks like it was phenomenally good fun to make,” grants the Telegraph’s Tim Robey. “An alien-sex-comedy-punk-musical-doodle set in 1977 Croydon, it packs...

Aug 7, 2014 — Performances Today, the idea that comedian-actor-writer Lily Tomlin possesses dramatic versatility is so received that one might not realize how unexpected it was for audiences to see her in a serious role in Robert Altman’s Nashville in 1975. At that...

Aug 20, 2024 — In her formally daring debut feature, Martha Coolidge stages a confrontation with the subject of date rape that questions the kind of “closure” required in conventional storytelling.