The Criterion Collection
Jan 11, 2011 — Given the scarcity of information available in the sixties, director Byron Haskin did a remarkable job of representing some of the conditions on our nearest planetary neighbor, nearly a year before the first close-up views of the real Martian surface.
The Daily
Nov 12, 2024 — Innovative metafictions and fresh readings of classic novels arrive along with books on Robert Kramer, Terrence Malick, and Nora Ephron.
The Daily
May 3, 2021 — A German mother travels to Hong Kong in search of her son—and herself—in one of the highlights of this year’s New Directors/New Films.
Interviews
Sep 28, 2011 — As a film student at the University of Southern California, new to LA and without connections, Patricia Resnick had a habit of following film trucks, just to see where they’d lead. One took her to Westwood and the set of...
The Daily
Nov 8, 2024 — This week offers revivals of overlooked films by Antonioni and Alan Rudolph and conversations with Garrett Bradley and Paulo Branco.
Feb 9, 2022 — The Learning Tree may have been Gordon Parks’s first feature film as a director, but by the time filming began in the fall of 1968, Parks already had almost three decades of experience behind a camera. In 1940, the self-taught...
The Daily
Sep 25, 2020 — This week there’s a new Film Quarterly and a new frieze and fresh conversations with Jan Oxenberg and Paul Cronin.
The Daily
Dec 15, 2017 — The International Film Festival Rotterdam has been rolling out the lineup for its 2018 edition (January 24 through February 4) in quick spurts over the past few weeks, and it’s far from complete. But there’s already more than enough to...
Sep 1, 2017 — “A single slur becomes the lightning rod for a court case that grips but also bitterly divides a nation in The Insult, the latest feature from Lebanese director Ziad Doueiri (The Attack),” begins Boyd van Hoeij in the Hollywood Reporter....
Oct 16, 2013 — Georges Franju deftly balances fantasy and realism, clinical detachment and operatic emotion, beauty and pain, all presided over by Edith Scob’s haunting, haunted eyes.