Innocent Blood

Mar 27, 2006 — Louis Malle’s World War II–era drama follows a young collaborationist in rural France and asks how people with no interest in politics become active participants in brutal torture.

Jan 5, 2006 — A gray flannel ghost story in which the living haunt the dead, the least appreciated of Akira Kurosawa’s midperiod collaborations with Toshiro Mifune throws open the windows of Japanese corporate corruption.

Jun 27, 2005 — Ko Nakahira’s Nikkatsu Studio youth flick helped transform postwar Japanese cinema.

Jun 9, 2003 — In Stan Brakhage’s films we enter into momentary perceptual transactions in which we trade unhindered assimilation of images for intensified contact with pictorial or sensory features that might otherwise go unnoticed.

Nov 19, 1989 — Almost as long as they’ve been able to talk, films have been able to sing and dance. Frequently high-style, often rapturously romantic, most musicals have nonetheless been content to remain light, sophisticated entertainment. Still, there has always been a minority...

Oct 25, 2012 — The following piece by Sunday Bloody Sunday screenwriter Penelope Gilliatt originally appeared as the introduction to the 1971 U.S. publication of the script. A friend of mine who had started scrubbing at fourteen and went on to be a barmaid...

Oct 23, 2012 — After winning an Oscar, John Schlesinger used his newfound artistic freedom to make a personal film in which homosexuality is treated as groundbreakingly ordinary.

Apr 28, 2026 — In April 1992, John Singleton was en route to the set of his second film when he heard the verdict on the radio. A predominantly white jury had acquitted four police officers who, a year earlier, had been caught on...

Apr 27, 2026 — During the evening rush on a busy Los Angeles boulevard, a man steps into a news-vendor’s stall and scans the out-of-town papers section, where journals offer balm for homesick travelers and transplants. But his hometown, Evanston, Illinois, is missing—no call...

May 21, 2025 — The exiled American director of Try and Get Me! and Hell Drivers depicted crime and violence as the inevitable results of capitalist competition.