14’s Good, 18’s Better

May 13, 2010 — Samuel Beam is an American singer-songwriter (and former film studies professor!) better known by the stage name Iron and Wine. His last album was 2007’s The Shepherd’s Dog, and a follow-up is in the works. When selecting his top ten...

Jun 19, 2009 — Forty-six years ago, Last Year at Marienbad opened in London. Resnais and Robbe-Grillet came over for the press screening, and I chatted to them in the lobby of the now defunct Cameo-Poly art house on London’s Upper Regent Street. Resnais...

Mar 27, 2009 — Thanks to IFC Daily’s David Hudson for tipping us off to a couple of top-notch articles this week marking the fiftieth anniversary of the French New Wave. That’s right, it was fifty years ago, in May to be precise, that...

Jul 23, 2007 — It’s hard to think of an artist who better exemplifies the obscuring ebb and flow of film history than Raymond Bernard.

Nov 13, 2006 — There’s a store called Stew Leonard’s near where I live. When you walk in, you can see the customer service rules hanging above the entrance. It’s simple—there are only two: Rule one: The customer is always right; Rule two: When...

Aug 2, 2004 — Dismissed as minor Jean Renoir, the film deserves better, especially when seen in the larger context of numerous American and European films of the 1950s and their shared preoccupation with theater and performance.

Sep 22, 1997 — If one writes a great chapter in a novel, it will seldom be taken out of a book for reasons of time or rhythm. A novel allows you longer arms, a deeper breath. Anthony’s scenes of Kip in England, which...

The legendary television host reminisces about having Katharine Hepburn and Jean-Luc Godard on his show, shares that he “doesn't see how a movie would get any better” than Stagecoach, and celebrates David Lean and Noël Coward’s collaborations.

The director of Orlando highlights movies that made her realize there’s nothing better to be than a filmmaker.

Jul 8, 2021 — Some critics find it better than Synonyms, and while others don’t, everyone agrees that this is the Israeli director’s “most radical movie yet.”