Two in One

Mar 24, 2016 — With Edward Yang’s A Brighter Summer Day finally available in the U.S., screenwriter Hung Hung talks about his working relationship with Yang, the film’s truncated distribution and slow path to acclaim, and the real-life roots of its narrative.

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.

Mar 3, 2016 — By the time Charlie Chaplin began work on what would be his first feature-length film, in 1919, he had been sneaking up to the longer format for some time.

Feb 9, 2016 — Jan Troell’s narration of one Swedish couple’s arduous journey to America portrays the migratory quality of marriage—of “finding that you think of this person who is not you, or this place that is not the land of your birth, as...

Jan 21, 2016 — In Gilda, Charles Vidor’s “violent, sexual, chaotic” noir, the director focused on Rita Hayworth’s skills as an actor and a dancer, eliciting a performance that became iconic in its own right and made her an international superstar.

Jan 12, 2016 — In German filmmaker Wim Wenders’s high-strung thriller, adapted from two Patricia Highsmith novels, Dennis Hopper plays sociopathic con man Tom Ripley as a “hopped-up elf from hell” who works his charms on a winsome and guileless Bruno Ganz.

Dec 8, 2015 — In Speedy, Harold Lloyd, a comic genius who thought of himself as a quintessentially average American man, places his optimistic everyman character within the context of a society in shift, to great comedic effect.

Nov 25, 2015 — Akira Kurosawa's 1952 film about one man’s mortality offers a study in postwar Japan, Kurosawa vs. Ozu, and the realization that knowing how to die requires learning how to be alive.

Oct 15, 2015 — Sophia Loren and Marcello Mastroianni are cast against type—and funnyman director Ettore Scola gets serious—in this humane drama set in Fascist Italy.

Sep 22, 2015 — Two precocious youngsters try to carve out a corner of the world just for themselves in Wes Anderson’s alternately melancholy and boisterous tale of growing pains.