More Than Ever

Jun 27, 2017 — Alfred Hitchcock brings a spirit of cinematic ingenuity to a thin narrative, resulting in a flawed but fascinating film that contains one of the most virtuosic sequences in his filmography.

Jun 27, 2017 — After nearly a decade of honing his craft, Alfred Hitchcock firmly established his reputation with this silent thriller.

Jun 14, 2017 — New York’s BAMcinemaFest opens tonight with Aaron Katz’s Gemini and closes on June 24 with Alex Ross Perry’s Golden Exits. “Now celebrating its ninth year, this modest yet prestigious festival, so shrewdly curated, so reliably comprehensive a treasury of contemporary...

May 31, 2017 — New Taiwan Cinema master Edward Yang’s sophomore feature explores the conflict between tradition and modernity reflected in a relationship on the rocks.

May 30, 2017 — Now that the Cannes Film Festival has wrapped, we’ve got some catching up to do. Let’s begin with Scout Tafoya’s report for the Village Voice on a recent symposium “on film criticism and scholarship commemorating the legacy of German film...

May 24, 2017 — “Cinema lost one of its pre-eminent pioneers when Abbas Kiarostami died on July 4, 2016,” writes Giovanni Marchini Camia at the Film Stage, where he notes that 24 Frames “was as good as finished” at the time of his passing....

May 23, 2017 — “Of all of the documentaries made about North Korea by Westerners in recent years, Claude Lanzmann’s Napalm, which premiered Sunday out of competition at Cannes, is by far the most peculiar, not to mention the most brazenly narcissistic,” writes Cineaste...

May 23, 2017 — In one of the first major films to confront the contemporary refugee crisis in Europe, Jacques Audiard brings a genre-busting approach to an explosive subject.

May 22, 2017 — “At the risk of accidentally donating three words to the poster, How to Talk to Girls at Parties looks like it was phenomenally good fun to make,” grants the Telegraph’s Tim Robey. “An alien-sex-comedy-punk-musical-doodle set in 1977 Croydon, it packs...

May 22, 2017 — “Philippe Garrel has always only needed the barest means to make movie magic,” begins Daniel Kasman in the Notebook: “a beautiful, tragic face, a sad wall to put behind it, a mournful, pensive walk alone on the street. He is...