Madonna

Oct 21, 2014 — Federico Fellini’s frantic tragicomedy is such a classic it risks being underestimated.

Aug 19, 2014 — Alfonso Cuaron, a filmmaker congenitally allergic to creative constriction, made his most liberated movie with this erotic, moving, often funny threesome tale.

Jan 28, 2014 — Terence Davies beckons the viewer into a private world of moods and sensations with this exquisite childhood reverie.

Sep 18, 2013 — This chapter about director Richard Linklater’s beginnings, from the 1996 book Spike, Mike, Slackers & Dykes: A Guided Tour Across a Decade of American Independent Cinema, is by the former producer’s representative, creator and host of IFC’s Split Screen, and...

May 1, 2012 — The Organizer is a dramatically political statement from director Mario Monicelli. More commonly known for lighter films like Big Deal on Madonna Street, Monicelli created an expression of the necessity of collective action that is both gritty and entertaining. In making...

Apr 24, 2012 — An unverifiable, if heartfelt, assertion: For the quarter century between 1945 and 1970 (or from Rome Open City to Fellini Satyricon), the world’s greatest popular cinema was produced in Italy—a realm of glamorous superstars, sensational comedians, and great genre flicks....

Jan 25, 2012 — Creating an effect of pity and terror unique in Francesco Rosi’s cinema, The Moment of Truth ought by rights to be counted among his finest achievements. On its original release in 1965, Pauline Kael acclaimed “the beauty of rage, masterfully...

Jun 22, 2011 — Theresa Russell is attracted to the very things that repel most actors. In 1976’s The Last Tycoon, her first movie (and Elia Kazan’s last), she is unafraid of seeming to do very little. Young actresses like to show you they...

Jun 14, 2010 — All writing is travel writing, the axiom goes. And for Jim Jarmusch, perhaps more than any other filmmaker working today, all movies are travel movies. It’s not a slight to call him the epitome of the filmmaker as tourist. In...

Jun 23, 2008 — Five years of increasingly horrific news from the former Yugoslavia made Milcho Manchevski’s searing yet lyrical film timely to a degree that few filmmakers have ever achieved.