Tears of the Sun

Dec 21, 2017 — A season-long retrospective of Rainer Werner Fassbinder continues with a screening of his psychosexual drama The Bitter Tears of Petra von Kant.

Mar 18, 2016 — For the past thirty years, the British Film Institute has been honoring the best in contemporary and classic LGBT cinema from around the world, with its annual BFI Flare: London LGBT Film Festival. In celebration of the festival’s three-decade anniversary...

Oct 28, 2017 — New York. “It’s an idea so good,” writes Farran Smith Nehme in the Village Voice, “you can’t believe no one did it before: a book about the deep and abiding friendship between Henry Fonda and James Stewart, true legends of...

Aug 24, 2011 — NOTE: The following essay contains spoilers. Not long into Lee Chang-dong’s Secret Sunshine (2007), a melodrama about suffering, salvation, and the dangerously blurred line between belief and madness, the heroine encounters the first of several challenges to her way of...

Mar 18, 2009 — Writer, critic, and film lecturer Teruyo Nogami also served as one of Akira Kurosawa’s principal assistants. Hired as script supervisor on 1950’s Rashomon, Nogami went on to work on all of Kurosawa’s subsequent films, later chronicling their unique relationship in...

Mar 29, 2019 — When Carlos Reygadas’s debut film, Japón, came out in 2002, my generation was just starting to drive cars, smoke weed, use contraceptives. A movie ticket at the Cineteca Nacional still cost only twenty pesos then if you showed your student...

Sep 29, 2003 — In May 1981, in the midst of shooting Lola, Rainer Werner Fassbinder sketched out his next film project: Sybille Schmitz. On the cover, he had written, “Story for a Feature Film*.” The asterisk pointed to this footnote: “It is possible...

Jan 19, 2023 — Critics list their most-anticipated films as Sundance opens with Rotterdam and Berlin hot on its heels.

Jun 10, 2022 — This week: Sarah Maldoror and Wayne Wang, plus new issues and features and the return of Film Studies for Free.

Aug 18, 2022 — With an obsessive attention to detail and tiny gestures, Ronald Bronstein’s debut feature film turns the tale of one neurotic Brooklyn man into a furious work of personal cinema.