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The Group

Jul 9, 2007 Set almost entirely in a single house, Hiroshi Teshigahara’s eloquent collaboration with writer Kobo Abe shows both his powerful staging and his love of fine, almost microscopic, detail.

Oct 24, 2005 Mirroring changes in awareness, politics, and lifestyle occurring across the globe, the chanbara (or Japanese swordplay film) underwent a significant metamorphosis in the early 1960s, acquiring a decidedly more radical spirit. Seemingly without warning, groundbreaking cinematic styles from beyond the...

Jun 3, 2002 By any standard, The Horse’s Mouth shines as an outstandingly personal work from a decade that often seems the most arid in British cinema. Amid tepid comedies and timid thrillers, it sparkles with conviction and eccentricity—at least that’s how it...

Oct 15, 2001 The French director’s crime film conveys both the flow and the form of the prison experience.

Jun 2, 2026 Gorin will discuss films he’s selected as well as his own work and his collaborations with Jean-Luc Godard.

Sep 16, 2025 A portrait of a new generation of feminist consciousness in the New York art world, Lizzie Borden’s first film project spikes with a persistent friction between the filmmaker and her documentary subjects.

Mar 18, 2025 This stellar entry in one of cinema’s greatest monster franchises combines science fiction’s age-old exploration of human arrogance with the full force of cinematic imagination.

November Books

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.

Oct 8, 2024 Though it received dismissive reviews upon its release, this chillingly nihilistic horror film has since influenced such masters as Alfred Hitchcock and Jacques Rivette with its low-budget evocation of anxiety and indeterminacy.

Jul 29, 2024 Made in an era when self-consciously postmodern takes on the Bard were popular, Gus Van Sant’s melancholy road movie mines the ambiguously queer tensions in the history play Henry IV.

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