A Misappropriated Turkey

Feb 22, 2013 — The writer shares his memories of his friendship with the great writer and Japanese cinema expert, who passed away this week.

Feb 20, 2013 — In this clip from a new interview on our release of On the Waterfront, the Oscar-winning filmmaker Martin Scorsese talks to critic and programmer Kent Jones about how much Elia Kazan’s masterpiece meant to him as a young moviegoer.

Feb 19, 2013 — Photo by Grant Delin, 2012 Today we mourn the loss of Donald Richie, writer, critic, curator, cultural explorer, and my friend since 2001. I met him when he came to New York to record a commentary track for our DVD...

Feb 18, 2013 — Performances Hiroshima mon amour (1959) is a groundbreaking portrait of a world come undone. Even more memorably, thanks to the brilliant precision of Emmanuelle Riva’s performance, it’s a study of a woman unraveling. In this first leading role in an...

Feb 14, 2013 — David Bordwell and Kristin Thompson’s textbook Film Art, a cornerstone of the cinema studies discipline, was first published in 1979 and is now in a tenth edition. Over the years, some sections have been taken out, either to make room...

Feb 1, 2013 — Wim Wenders wanted his documentary tribute to the legendary choreographer Pina Bausch to be unlike any other dance movie ever made. He accomplished this by shooting it in 3D, resulting in a vivid, sometimes startling sensory experience. In this illuminating...

Jan 30, 2013 — The improvisational arts of filmmaking, jazz, and chili.

Jan 30, 2013 — Repertory PicksThanks to the mega success of her award-winning HBO series Girls, now in its second season, Lena Dunham seems to be everywhere lately. Next up is Boston. On February 6, Dunham will be at the Museum of Fine Arts...

Jan 28, 2013 — The release of Pina, Wim Wenders’s magical documentary tribute to the choreographer Pina Bausch, has put us in mind of the pioneering work of Martha Graham, the mother of modern dance. For a splendid sample of Graham’s legendary work, check...

Jan 22, 2013 — Andrei Tarkovsky’s austere, minimalist, and poetic film was the first major accomplishment in an oeuvre that would become one of Russia’s main contributions to the treasury of world cinema.