The Photograph

Oct 28, 2014 — What you hear is as crucial—and as funny—as what you see in Tati’s films.

Oct 8, 2014 — Eraserhead is a dark movie—literally. In this excerpt from a new interview on our special edition release of the film, director of photography Frederick Elmes discusses David Lynch’s approach to lighting his high-contrast black-and-white breakthrough, which you sometimes have to...

Oct 7, 2013 — René Clair, Fredric March, and Veronica Lake cast sensational spells in this screwball supernatural treat.

Sep 5, 2013 — Repertory PicksLike any great western, Delmer Daves’s taut 3:10 to Yuma is especially commanding on the big screen. This has a lot to do with the film’s vast, ravishingly photographed landscapes, but seeing it in the theater also allows for...

Dec 12, 2012 — Even with limited resources, Christopher Nolan proved a force to be reckoned with in his thrilling, auspicious debut.

Jun 14, 2011 —   The dance along the artery The circulation of the lymph Are figured in the drift of stars —T. S. Eliot, Four Quartets   The year is 1954: a fabulous bit of film history is about to unfurl. Grips are...

May 17, 2011 — “There was a strong influence of Baudelaire’s Fleurs du mal throughout this film,” director Masahiro Shinoda would later remember of his 1964 squid-ink noir Pale Flower, made in the days when his career as a filmmaker and founding figure of...

Nov 18, 2010 — In Charles Laughton’s The Night of the Hunter, terror and tenderness grapple with each other as profoundly as the words HATE and LOVE when they’re tattooed, one per hand, across the knuckles of the sadistic preacher Harry Powell (Robert Mitchum)....

Oct 19, 2009 — Though known primarily for her wildly varied, continent-hopping features (Salaam Bombay!, Mississippi Masala, Vanity Fair, The Namesake), Indian director Mira Nair has for the past three decades also been forging a parallel career of short filmmaking. Both fiction (Migration, How...

Jun 22, 2009 — So much critical ink has been shed over Last Year at Marienbad that one might wonder if the flood of commentary, once receded, would take the film along with it. Alain Resnais’ second feature has been lavishly praised and royally...