Mar 9, 2015 — François Truffaut’s adultery drama is at times corrosively funny and at others frighteningly tense, but it’s always incisive and humane.

Oct 2, 2014 — People struggle to escape their socially dictated roles in Rainer Werner Fassbinder’s moving, Douglas Sirk–inspired melodrama.

Jul 29, 2014 — Combining a tragic romance and the story of a workers’ strike, this musical melodrama is perhaps Jacques Demy’s most neglected masterpiece.

May 29, 2012 — A watershed film in Bergman’s career, this tale of a woman caught between the past and present is a masterful study in darkness and light.

May 21, 2012 — Certified Copy is no ordinary love story. Though it initially seems like a typical romance, featuring two strangers who meet in a picturesque Tuscan town, it is one of the trickiest films in recent memory. Earlier this year, its director,...

Jun 10, 2011 — Bringing Junichiro Tanizaki’s sprawling, elegiac histor­ical novel The Makioka Sisters (1948) to the screen would seem an undertaking tailor-made for Kon Ichikawa. The renowned writer’s work was familiar territory for the veteran director, who had adapted the quirky Tanizaki novella...

Doom Love

Short Takes

Feb 14, 2011 — In a nostalgic piece for the New York Times, editor and journalist Wendell Jamieson has revealed his true love: samurai films. He describes a time when he and his childhood pals would frequent the late Bleecker Street Cinema on Japanese...

Sep 10, 2009 — Is That Hamilton Woman, starring Vivien Leigh and Laurence Olivier at their most heart-stoppingly beautiful and mutually enraptured, one of the most romantic movies ever made because or in spite of the fact that it was designed as propaganda? It...

May 12, 2009 — This is one of our favorite new sites. At the end of April, Spike Jonze and friends started a blog celebrating the artists and other influences that come together in his upcoming film of Maurice Sendak’s Where the Wild Things...

Oct 6, 2007 — In Gus Van Sant’s first feature, gayness—blind, unembarrassed homosexual lust—is the narrative’s driving force.

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