Going My Way

Jul 20, 2018 — American audiences weren’t ready for Barbara Loden’s Wanda when it premiered in 1970. A stark portrait of a working-class woman (played with raw conviction by Loden herself) who breaks free of a miserable marriage, only to find herself on the...

Jun 26, 2018 — John Waters’ favorite among his early works is both an assault on political correctness and a no-holds-barred expression of gay militancy.

May 1, 2018 — Working within the strict rules and tight budget of a commissioned television project, one of France’s finest contemporary directors made an artistic breakthrough that would go on to define his career.

Feb 24, 2018 — New York. The Film Society of Lincoln Center and the Museum of Modern Art have announced the complete lineup for the forty-seventh New Directors/New Films festival, opening on March 28 with Stephen Loveridge’s Matangi/Maya/M.I.A. and closing on April 8 with...

Dec 26, 2017 — The great Austrian filmmaker spoke with us about his early experiences falling in love with cinema and the films that have shaped his singular aesthetic.

Jan 26, 2015 — Scenes without endings, sounds without corresponding images, actions without seeming motivation—Lucrecia Martel’s sense-heightening debut offers a cinema of subtraction.

Apr 22, 2011 — At a time when many talk of cinephilia as going the way of the woolly mammoth, it’s more than a little inspiring to come upon a place like the Aperture Cinema in Winston-Salem, North Carolina. This two-screen art-house theater (which...

Oct 18, 2009 —  So many worlds stream in from every direction in Monsoon Wedding that it comes to seem as if the whole globe is converging on a single family home in New Delhi: relatives from Houston, from Australia, from Dubai (“Muscat, actually”);...

May 25, 2009 — Reported from the set of Eddie Coyle by New Journalism trailblazer Grover Lewis, this article is a profile of Robert Mitchum that features extensive, idiosyncratic monologues by Mitchum himself.

Apr 23, 2007 — Louis Malle’s documentary work adopts certain tenets of cinéma direct—improvisation, minimal crew, the refusal to organize reality—and applies them to a consistently class-conscious, outsider perspective.