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Apr 20, 2018 — Let’s catch up with the new issue of cléo journal, this one dedicated entirely to the work of Agnès Varda. When the journal launched five years ago, it took its name from Varda’s 1962 classic, Cléo from 5 to 7....

Apr 20, 2018 — Jim Jarmusch filmed Neil Young recording the score for his 1995 revisionist western. Watch a bit of the never-released footage here.

Apr 19, 2018 — With a mix of improvisation, balletic physicality, and slapstick humor, Hollywood master Leo McCarey crafted the most sublime of screwball comedies.

Apr 19, 2018 — Following yesterday’s news that David Cronenberg will be heading up the International Jury at the Neuchâtel International Fantastic Film Festival in July, the Venice International Film Festival has announced that Cronenberg will receive the Golden Lion for Lifetime Achievement for...

Apr 16, 2018 — Just before the release of her new film You Were Never Really Here, Lynne Ramsay spoke with us about her early moviegoing life in Glasgow, the version of herself that emerges on set, and the mind-expanding power of chess.

Apr 13, 2018 — “Miloš Forman, the anti-authoritarian director who left his native Czechoslovakia for creative freedom in the U.S. and captured Oscars for the masterpieces One Flew Over the Cuckoo’s Nest and Amadeus, has died.” Duane Byrge for the Hollywood Reporter: “Forman first...

Apr 9, 2018 — Ingrid Bergman’s work in her native Sweden was an early showcase for her dazzlingly precocious talent and emotional depth.

Apr 5, 2018 — Variety’s Elsa Keslassy broke the story yesterday, and now the Cannes Film Festival has confirmed it: Asghar Farhadi’s Everybody Knows with Penélope Cruz and Javier Bardem will open the seventy-first edition on May 8. Shot “in Spanish on the Iberian...

Apr 4, 2018 — “It has been half a century since Werner Herzog released his first full-length feature, Signs of Life (1968) which depicts a wounded German WWII paratrooper losing his mind on a torpid Greek island,” writes Joseph Hincks, introducing his interview for...

Apr 2, 2018 — The director of Love After Love examines the emotional subtlety of Maurice Pialat’s camera work in a pivotal scene in the 1983 masterpiece À nos amours.