Come inguaiammo l’esercito

Jan 27, 2022 — As John Cameron Mitchell’s newly restored second feature returns to theaters, many wonder if it could possibly be made today.

Jan 26, 2022 — Rotterdam opens as Sundance winds down and Berlin sets up.

Jan 25, 2022 — By repeatedly staging the death of the filmmaker’s father with tragicomic flair, Kirsten Johnson’s hybrid documentary grapples with the realities of dementia and finds grace.

Jan 21, 2022 — Welles, Hitchcock, Malick, Nuri Bilge Ceylan, and Jonas Mekas appear between the covers this month.

Jan 18, 2022 — MoMA’s festival of film preservation presents Beat poets, crown jewels, a lonely Hungarian, and a Senegalese bad boy.

Jan 18, 2022 — Garrett Bradley warped the clock. In her masterwork Time (2020), the present is the past is the future—which is to say, the lie of linearity gets emptied. Virginia Woolf comes up, when I think of artists who have comparably seized...

Jan 13, 2022 — Yes, he opened doors, but he also brought a singular presence to American cinema.

Jan 11, 2022 — A searing melodrama that lays bare the trauma wrought by white supremacy and privilege, Thomas Vinterberg’s second feature kick-started the Dogme 95 movement.

Jan 3, 2022 — Both as an art and a business, cinema faces serious challenges, but the past year offers reasons for optimism.

Jan 1, 2022 — Ring in the new year with the French New Wave, Joseph L. Mankiewicz, and a look back at the 1992 Sundance Film Festival.