The State of the World

Nov 30, 2020 — Channel Calendars As the year draws to an end, we’re turning our gaze toward things to come, with an international, intergalactic program of Afrofuturist visions of Black creativity, resistance, and freedom. That’s just the beginning of our holiday bounty: we’ve...

Aug 3, 2020 — The first European box-office success of the movement dubbed the New German Cinema, Volker Schlöndorff and Margarethe von Trotta’s 1975 The Lost Honor of Katharina Blum took on a hot-button issue: the paranoia provoked by homegrown terrorism and the opportunity that...

Jul 17, 2020 — Studio Ghibli for the kids, Bergman and Pasolini for the grownups, and more highlights from the week that was.

Jul 14, 2020 — Bruce Lee seemed born to be on-screen. At three months old, he appeared as an infant in a Hong Kong movie called Golden Gate Girl (1941). After he died suddenly of cerebral edema in 1973 at the age of thirty-two,...

Apr 16, 2019 — Most proper New Waves of the 1960s came equipped with a rough balance of assimilable superstars and genuine radicals, and for the Czechoslovaks, the guerrilla flank was led by Jan Němec. Jiří Menzel was adored globally for his wry humor,...

Mar 12, 2019 — The first few days have also seen premieres of new films by Lynn Shelton, Jonathan Levine, and Olivia Wilde.

Mar 20, 2018 — The careers of three iconic German artists—Bertolt Brecht, Rainer Werner Fassbinder, and Volker Schlöndorff—converged in this unflinching portrait of destructive genius.

Jun 20, 2017 — With both films now streaming on the Criterion Channel, director Carroll Ballard discusses the parallels between his short documentary Rodeo and Francesco Rosi’s bull-fighting classic The Moment of Truth.

Jun 8, 2017 — When we think of American cinema in the 1970s, it’s the “New Hollywood” that first comes to mind, landmark films such as The Godfather and Taxi Driver, Nashville and Chinatown. In his new book, Opening Wednesday at a Theater or...

Mar 15, 2016 — Set during the height of McCarthy-era paranoia and arriving in 1962, in the middle of the Cuban Missile Crisis, John Frankenheimer’s high-anxiety Communist conspiracy thriller tapped into the darkest fears of Cold War America.