On Tour

Oct 19, 2017 — New York. “Feverish, fragmented, expressionistic, The Sin of Nora Moran (1933) is one of the most formally daring films to come out of Hollywood in the early sound era,” begins Imogen Sara Smith in her overview for Film Comment of...

Aug 22, 2017 — New York. The Metrograph’s series Antonioni x 6 is on from today and, in the Village Voice, Bilge Ebiri focuses on Le amiche (1955), “decidedly not what one would call ‘Antonioni-esque’”; L’avventura (1960), which “as been called alienating, but I’m...

Jul 19, 2017 — “When putting together MoMA’s new film series, Future Imperfect: The Uncanny in Science Fiction, its curator, Josh Siegel, set out to compile a list of pictures that defined the genre within more earthly parameters,” writes Jake Nevins for the Guardian....

Jun 25, 2017 — New York. Edgar Wright Presents Heist Society is a BAMcinématek series running from Tuesday through July 23 and, over at the BAM blog, Wright’s got ultra-brief introductions to each and every one of the twenty-two films—including Walter Hill’s The Driver...

Mar 11, 2016 — Valley of Love (2015), dir. Guillaume Nicloux “Filmmaking is a collective assemblage of desires,” said Isabelle Huppert when we sat down to talk on a recent morning. We were speaking about how she picks her roles, and how her own intuition...

Mar 3, 2016 — By the time Charlie Chaplin began work on what would be his first feature-length film, in 1919, he had been sneaking up to the longer format for some time.

Dec 9, 2014 — Liliana Cavani’s tale of the sadomasochistic bond between an ex-SS officer and a former concentration camp prisoner is a transgressive take on history and fascism.

Jul 30, 2014 — A friend and longtime scholar of Jacques Demy ruminates on the great director’s career, as well as the port hometown they shared—which would become a magical movie location.

Sep 26, 2013 — Roberto Rossellini officially left neorealism behind with his modern masterpiece, an intimate tale of marriage on the rocks.

Nov 14, 2012 — Jean Luc Godard’s exuberant, multipronged attack on the bourgeoisie is both theater of the absurd and political horror.