The Man Who Left His Will on Film

Oct 24, 2005 — The hero in Masahiro Shinoda’s popular samurai movie is both a genre figure and an ordinary character, both killer and savior, both larger than life and lost in the mists.

Jun 12, 2019 — One Scene One of the most talked-about movies at this year’s Sundance, The Last Black Man in San Francisco is both a rhapsodic portrait of first-time director Joe Talbot’s native city and a mournful look at how gentrification, income inequality,...

May 29, 2012 — Harriet Andersson’s Monika is both an erotic object and an empowered female protagonist in Bergman’s groundbreaker.

Aug 31, 2011 — A man and a woman are married in a small town. The wedding procession follows them to a canal barge, of which he is the master. His crew, an old salt and a young boy, await them there. The couple...

Jun 25, 2024 — Barry Jenkins’s extraordinarily ambitious limited series distinguishes itself in the tradition of the cinematic slavery epic through its understanding that Black joy and Black trauma cannot be cleaved from each other.

Mar 15, 2022 — A captivatingly unclassifiable leading man in the 1980s, Hurt often returned to his first passion—the theater.

Jun 4, 2019 — Before The Dead Don’t Die opens in theaters, two series offer crash courses on a singular oeuvre.

Feb 2, 2022 — Forever associated with Antonioni, the Italian actress cut loose in the 1970s.

Jul 7, 2021 — Cannes’ opening night film has thrilled some critics, disappointed others, and left a few simply confused.

Oct 23, 2017 — “Meet the new hotshots of American filmmaking,” offers the Observer, stacking four profiles on one page. Tim Lewis gets Dee Rees talking about Mudbound (“The mud wasn’t free!”) and going with Netflix: “I think Netflix are disrupters and maybe they...