Simpsley

Oct 17, 2019 — Two series offer a wide range of thematic and historical perspectives on the Japanese capital.

Oct 16, 2019 — Deep Dives “I have a feeling that the really crucial moments in a film should be wordless,” the Bengali filmmaker Satyajit Ray once said. He was speaking of his 1964 masterpiece Charulata, whose action consists largely of soulful looks passing...

Oct 11, 2019 — Highlighted this week are an alternative history, the state of the documentary, and the influence of Antonioni and Pialat.

Oct 10, 2019 — Dark Passages Where the sea and the city meet, they corrupt each other. Around docks, the ocean’s margins are scummy with oil and floating garbage; the water corrodes hulls, encrusts pilings, and slimes steps. Ports cater to men who come...

Oct 9, 2019 — This year’s program has taken NYFF attendees to Soviet Russia, Lebanon, Chile, back home to the Big Apple, and behind bars.

Oct 7, 2019 — One Scene Japanese filmmaker Takashi Miike has directed more than a hundred features, and almost three decades into his career he’s showing no signs of slowing down. Throughout his ferocious, often controversial body of work, he has contorted disparate genres...

Oct 7, 2019 — Critics respond to the New York Film Festival’s selection of new moving image art.

Oct 2, 2019 — Armando Iannucci’s The Personal History of David Copperfield opens this year’s bounteous edition.

Oct 1, 2019 — Charlie Chaplin’s sidesplitting The Circus, the last movie he made during the silent era, is a true testament to the man’s genius, not only as a comedian in front of the camera but also as a director behind it. The...

Sep 27, 2019 — Charlie Chaplin gave The Circus (1928) one of his favorite themes, some of his most sublime gags, and an incomparably poignant ending. It’s a hugely personal work, which draws on moments from his whole career, from his early stage work...