Like You Know It All

Dec 9, 2002 — What makes Jean-Luc Godard’s classic so unique a viewing experience today, even more than in 1963, is the way it stimulates an audience’s intelligence as well as its senses.

Dec 2, 1991 — Director Akira Kurosawa had wanted to make Throne of Blood for some time. “After finishing Rashomon [in 1950] I wanted to do something with Shakespeare’s Macbeth, but just about that time Orson Welles’s version was announced, so I postponed mine.”...

Oct 6, 2026 — This week is packed with festival openings, special screenings, series, and retrospectives.

Sep 30, 2026 — The Bhutanese director and leading Tibetan Buddhist teacher talks about his wide range of aesthetic influences, his experience working with Bernardo Bertolucci, and film’s connection to meditation.

Sep 24, 2026 — The elegantly crafted portmanteau films Quartet, Trio, and Encore adapt twelve spellbinding tales of deception and passion from one of the best-selling authors of the twentieth century.

Aug 25, 2026 — James Gray’s extraordinary debut feature is a painstakingly distilled tale of crime and family dysfunction, captured with a merciless gaze and a sharp attention to idiosyncratic detail.

Jun 18, 2026 — Over the course of his first three documentaries—Helvetica (2007), Objectified (2009), and Urbanized (2011)—Gary Hustwit established a clean and clear cinematic language that he used to describe the complex and often contradictory systems of thinking that designers use to shape...

May 28, 2026 — In his delightful and engrossing new memoir Flashbacks: A Passion for Film, Peter Cowie brings to vivid life the era we have come to know as the golden age of art-house cinema, an astonishing period in the growth and distribution...

May 27, 2026 — When Joachim Trier made his debut in 2006 with the film Reprise, I felt as if a veil had been lifted. There was nothing wrong with Norwegian cinema before Trier’s arrival, but it always seemed to be about someone else,...

May 12, 2026 — Sexuality—how one defines it, lives with it, hides it, shuns it, or wields it—is inextricable from matters of socioeconomic class, though rare is the American film that centralizes this intersectional reality. The foundational myth of the American dream puts forth...