The Goalkeeper’s Fear of the Penalty

Jun 18, 2012 — One Scene With a background in photography, I was initially attracted to the visual elements of cinema. But the first time I worked with great actors, my interest immediately shifted. Now, capturing a performance is all that matters to me;...

Jun 13, 2012 — Tasteful British cinema got a refreshing dose of amorality with Danny Boyle’s stylish and violent tale of greed and paranoia.

May 18, 2012 — Did You See This? • Remembering Carlos Fuentes • Don DeLillo spills a few beans about David Cronenberg’s Cosmopolis • On Truffaut on Bazin on Renoir • The Korean Film Archive has gone YouTube • Trailing the Mann of the...

May 17, 2012 — Repertory Picks It’s just a Wes kind of week. To coincide with next week’s U.S. opening of his Moonrise Kingdom, the Museum of the Moving Image in New York is launching a complete retrospective of Wes Anderson’s feature films, called...

May 9, 2012 — The paradox of the biopic is that the need to give fictional characters the kind of messy, defining behavior that makes them ring true—makes them, in the vocabulary of development, “relatable”—is usually overlooked when an actual life is condensed into...

Apr 27, 2012 — Did You See This? • Go underground with Stanley Kubrick, circa 1946. • Catch up with Frau Blücher [sound of a horse whinnying] . . . • . . . and creepy Carrie White. • Lyons on Insdorf on Kaufman...

Apr 20, 2012 — Did You See This? • Richard Brody on the ecstasy of L’Atalante • David Bordwell on the digital conversion—and the Night and the City print that made Jules Dassin weep • Bresson, definitely • A bevy of posters from Moonrise...

Apr 20, 2012 — Cabbage soup for the soul.

Apr 17, 2012 — Few directors have as precise and recognizable a style as Yasujiro Ozu, sometimes called the father of Japanese cinema. Film scholars have studied and dissected that style for years, and filmmakers imitated it. One artist particularly moved by Ozu’s elegant...

Apr 17, 2012 — When it was first released in 1977, ¡Alambrista! depicted something previously unseen in American fiction films—the lives of undocumented Mexican immigrants from their point of view. Though writer-director-cinematographer Robert M. Young was not Latino and didn’t speak Spanish, his film convincingly...