I Believe

Jun 7, 2012 — In this classic self-interview, published to coincide with the release of Summer with Monika, the director reveals key elements of his filmmaking process.

Jun 6, 2012 — A killer breakfast

Feb 15, 2012 — Comedy evolves. We long ago bid adieu to the physical acrobatics of Buster Keaton, the wisecracks of Bob Hope, the witty repartee of Cary Grant and Irene Dunne. The now-reigning comedy of embarrassment, seen in the films of Judd Apatow...

Nov 8, 2011 — With the very first shots of Fanny and Alexander (1982), director Ingmar Bergman announces his perspective and signals his intentions. Here, we find the ten-year-old Alexander gazing into a puppet theater, lifting layer after layer of skillfully painted backdrop. We...

Oct 4, 2011 — Vilified, censored, banned, denied commercial distribution, and long unavailable, Pier Paolo Pasolini’s infamous film lives more in reputation and rumor than in memory.

Aug 31, 2011 — City symphony or spa burlesque? Polemic or caprice? From the outset, even in his manifesto lecture “Towards a Social Cinema,” delivered to the Groupement des Spectateurs d’Avant-Garde at Paris’s Le Vieux-Colombier before what was only the second public screening of À propos...

Aug 24, 2011 — NOTE: The following essay contains spoilers. Not long into Lee Chang-dong’s Secret Sunshine (2007), a melodrama about suffering, salvation, and the dangerously blurred line between belief and madness, the heroine encounters the first of several challenges to her way of...

Jun 28, 2011 — Black Moon may well deserve the title of Louis Malle’s film maudit. The release in September 1975 of what he called his “mythological fairy tale taking place in the near future” disconcerted many, especially as people had expected him to...

May 13, 2011 — Craig McCall’s labor of love documentary Cameraman: The Life and Work of Jack Cardiff, a darling of the film festival circuit over the past year, opens today in New York and in a couple of weeks in Los Angeles. A...

Apr 25, 2011 — In 1981, the legendary critic went all out for Blow Out, which she thought was De Palma's most mature work to date.