What If

Sep 26, 2023 — Brett Morgen’s portrait of David Bowie is a free-associative hybrid of pop history and imaginative extravaganza—impressionistic, eclectically allusive, and, above all, immersive.

Jul 28, 2023 — This week: Stephanie Zacharek’s hundred favorites, Peter Wollen on the British New Wave, and a conversation with Hong Sangsoo.

May 30, 2023 — What makes Thelma & Louise truly a film for women, despite the fact that it was directed by a man, are its stars, Geena Davis and Susan Sarandon, who imbue their iconic performances with tender, unwavering specificity.

May 10, 2023 — The critic and memoirist expands on her 2017 essay “What Do We Do with the Art of Monstrous Men?”

Jan 31, 2022 — What have the critics been saying about this year’s winners?

Jan 27, 2022 — As John Cameron Mitchell’s newly restored second feature returns to theaters, many wonder if it could possibly be made today.

Sep 29, 2021 — Luchino Visconti’s scandalous antifascist melodrama envisions the liquidation of desire with expressionistic panache.

Sep 22, 2021 — No one’s claiming that Cry Macho is a great movie, but plenty are moved to reflect on what Eastwood has meant to us over all these years.

Sep 16, 2021 — As the Viennale prepares a retrospective, Toronto premieres what Davies calls “the best film I’ve made.”

Mar 5, 2021 — Here’s an overview of what critics have been saying about this year’s winners of the Berlinale’s top awards.