The Italian Job

Sep 6, 1999 — The subject of loneliness and the observation of the isolated person has always interested me. Even as a child, I couldn’t help but notice those who didn’t fit in for one reason or another—myself included. In life, and for my...

Feb 18, 2025 — HIghlights this month include a look back at the Dogme 95 movement, a showcase of great supporting performances, and spotlights on directors Michael Mann, Alain Guiraudie, and Lee Chang-dong.

Sep 17, 2026 — Our Halloween programming includes a tour of cinema’s scariest road movies, an anthology of TV-movie nightmares, and collections built around our fears of sinister intruders and mysterious possessive forces.

Jul 2, 2024 — Self-destruction is not only an aesthetic but its own subject matter in Sam Peckinpah’s deeply elegiac western, a towering masterpiece that examines American power and greed.

Jun 8, 2022 — The Indian director, actor, and producer’s early death has enshrined him as a tragic icon in public memory. But there is more to his art than misery.

Jun 30, 2026 — The distinction between social and political cinema is not always clear. The former category, which focuses on realistic portrayals of the everyday lives and struggles of the working class, generally includes the films of Italian neorealism and British social realism,...

Aug 16, 2018 — The Cleveland Museum of Art salutes the late Italian master Ermanno Olmi with a screening of Il posto, a touching and wisely funny look at the trials of work.

Sep 24, 2017 — For the final issue in print of the Village Voice, Bilge Ebiri talks with Jonas Mekas, “the 94-year-old filmmaker, artist, critic, poet, photographer, cinema owner, and all-around underground impresario who transformed film criticism, filmmaking, and exhibition throughout the 1960s and...

Feb 9, 2009 — Luis Buñuel’s ferociously brilliant The Exterminating Angel (1962) is one of his most provocative and unforgettable works. In it, we watch a trivial breach of etiquette transform into the destruction of civilization. Not only does this story undermine our confidence...

Feb 12, 2007 — Vittorio De Sica’s seminal drama renounces “egoism” for collective concern, envisioning a cinema of impassioned social conscience.