So Long, My Son

Aug 18, 2016 — Beloved Hollywood veteran Arthur Hiller passed away yesterday at the age of ninety-two. In a career that spanned five decades and more than thirty films, he demonstrated remarkable versatility, with credits ranging from Neil Simon comedies (The Out-of-Towners, Plaza Suite)...

Jul 22, 2016 — Two pieces, written by director King Hu, that were originally published as part of a 1975 press kit for the Cannes Film Festival.

Jun 15, 2016 — Although afflicted by on-set drama and offscreen tragedy, Jean Renoir’s La Chienne shows the director’s early mastery of sound cinema and features the trademarks that would come to define his style.

Jun 2, 2016 — Kings of the Road is the most “roadish” of Wenders’s road movies, a film about travel as a form of escape for two German men and the transitory bond they form along the way.

May 31, 2016 — With Alice in the Cites, Wim Wenders created one of the most nuanced and complex portraits of an empowered young girl ever seen on-screen.

Feb 23, 2016 — Without any overt topical references, Mike Nichols’s The Graduate captured the zeitgeist of the 1960s and the dawning countercultural revolution.

Sep 28, 2015 — Rarely has schizophrenia been closer to the surface of American cinema than in the transitional period of 1968–71. Hollywood had just abandoned its censorship code after nearly thirty-five years, and the behemoth studios were heaving and rattling into oblivion or...

Jul 6, 2015 — The Killers (1946) is exemplary film noir from Robert Siodmak, who, on the strength of three films—this, Phantom Lady (1944), and Criss Cross (1949)—stands beside his fellow European exiles Fritz Lang and Otto Preminger as one of noir’s crucial directors....

Mar 25, 2015 — Long unheralded and at last rediscovered, actor-director Robert Montgomery’s Ride the Pink Horse is one of the key Hollywood features of 1947, the year film noir flooded the screen like a ruptured reservoir of India ink. Adapted from the popular...

Feb 3, 2015 — Jean-Luc Godard returned to the character-driven intensity of his earlier films with this satirical but serious-minded take on men, women, and money.