A Time to Love and a Time to Die

May 25, 1992 — If Max Ophuls hadn’t cooled his heels in Hollywood to flee the Nazis, his name might have conjured only the most unintelligible of foreign cinema—vague and inaccessible to the average American filmgoer. But in 1948 Ophuls was given an opportunity...

Mar 16, 2023 — New York’s Film Forum presents new restorations of the three features Moreau directed.

Dec 14, 2021 — In 1968, soon after he graduated from the Film and Television Institute of India, Mani Kaul made an arresting short titled Forms and Designs. It observes artisans at work across the country, some swimming alone against the tide of mass...

Dec 4, 2020 — Forty years after her death, people still imitate Mae West’s voice: that slinky contralto drawl that hit each Brooklyn-inflected vowel like a cab driver leaning on his horn. The voice would be memorable even if she had by some wild...

May 21, 2020 — Deep Dives “Right then, get dressed!” my mother sang out once a year when I was a child. “We’re going down the Lane,” and I was at the front door with my coat on before she was. The Lane was...

Sep 30, 2019 — At first glance, Jean-Pierre Melville’s body of work might seem to display a schizophrenic split between two currents or tendencies. The first is in total symbiosis with the history of France and is rooted in the filmmaker’s own life, notably...

Oct 2, 2018 — Performances There’s an irreducible reserve about Kristen Stewart, an appearance of not doing much on-screen, that I mistook for lack of talent when I first saw her mumbling into her shirt in the Twilight franchise. Still, playing Bella Swan, chastity...

Apr 5, 2018 — “Isao Takahata, who co-founded Studio Ghibli with Hayao Miyazaki in 1985, has died at eighty-two, according to Yahoo! Japan.” Michael Nordine for IndieWire: “Takahata was a revered director in his own right, helming such animated classics as Grave of the...

Feb 27, 2018 — Director Tony Richardson refracts the bawdy spirit of the 1960s through this brilliantly distilled take on an eighteenth-century picaresque.

May 25, 2017 — “Sergei Loznitsa’s documentaries are conceived as silent commentary,” begins Jay Weissberg in Variety. “His rigorously edited, coolly composed shots contain all the information needed for viewers to feel the weight of his argument. By contrast, his fiction films (My Joy,...