Gold

Oct 21, 2020 — The subject of two new biographies, the Hollywood icon is being celebrated in his hometown.

Oct 13, 2020 — I know I need somethingOr someone. From “Cotton Candy on a Rainy Day” (1978), by Nikki Giovanni While the screen is still dark, Gladys Knight’s voice drifts in, in a strong, sincere belt: “How can I / Work out this...

Oct 9, 2020 — This week we’re revisiting Irma Vep, more than a century of animation, and the work of Jean-Luc Godard and Michael Snow.

Oct 2, 2020 — The Lady Eve, from 1941, is my favorite of all of Preston Sturges’s comedies. I would wager to say that it’s Barbara Stanwyck’s best performance, though I also love her in Double Indemnity and Forty Guns. Heck, I love her in everything she’s in. But...

Sep 30, 2020 — Genre fans rejoice! October kicks off with a ’70s Horror series and the head-spinningly eclectic films of the New Korean Cinema.

Sep 30, 2020 — Martin Scorsese’s World Cinema Project No. 3 Pixote (1980), subtitled A lei do mais fraco (The Law of the Weakest), a hard-hitting tale of urban street children and their daily battle for survival in brutal conditions, was the Argentine-born Brazilian...

Sep 30, 2020 — The new issue offers features on films by Gianfranco Rosi, Orson Welles, Ephraim Asili, and Nicolás Pereda.

Sep 29, 2020 — Martin Scorsese’s World Cinema Project No. 3 What can it mean for cinema to be revolutionary? Answering a version of this question in a 1977 interview, the Cuban filmmaker Humberto Solás stressed the importance of real-world context. In a capitalist...

Sep 11, 2020 — On our minds this week: New Taiwan Cinema of the 1980s, Black cinema’s “paradoxical role in American cultural history,” the new Brooklyn Rail, and more.

Sep 11, 2020 — As Toronto opens, here’s an overview of early critical response to some of the festival’s titles arriving directly from their premieres in Venice.