Behind the Scenes

Feb 15, 2018 — First up, that's Robert Pattinson in the image up there, the first, released just today, from Claire Denis’s High Life. Secondly, Ioncinema’s countdown of the most anticipated American independent films of 2019—again, twenty-nineteen—continues with notes on Shane Carruth’s The Modern...

Jan 25, 2018 — Charlie Kaufman, pictured above at work on his last feature, Anomalisa (2015), with co-director Duke Johnson, “is set to write and direct a film adaptation of Iain Reid’s internationally best selling novel I’m Thinking of Ending Things for Netflix,” announces...

Jan 1, 2018 — One of the most intriguing films we can look forward to in the new year is Claire Denis’s English-language debut, High Life. “I’ve always been interested in science, in astrophysics,” Denis told the Hollywood Reporter’s Scott Roxborough in November. “But...

Jul 11, 2017 — A forged note brings chaos and corruption to the lives of everyone it touches in Robert Bresson’s devastating final film.

Mar 6, 2017 — To commemorate the anniversary of the late Polish master’s birth this week, critic Michał Oleszczyk pays tribute to his mercurial style, urgent political themes, and sly evasion of the censors.

Jul 14, 2016 — On what would have been the director’s ninety-eighth birthday, we revisit a selection of essays, photo galleries, and videos that explore his iconic oeuvre.

Jun 1, 2016 — The Moviegoer, a biweekly online column published by the Library of America, has been a locus of terrific writing about classic literature-inspired films since it launched in February. Curated by film critic Michael Sragow, the column features a roster of...

Apr 14, 2016 — In honor of our disc release last week of the classic John Frankenheimer thriller The Manchurian Candidate, we sat down to talk about the film with the director’s widow, actor Evans Frankenheimer.

Mar 15, 2016 — Today, we’re celebrating horror maestro David Cronenberg’s seventy-third birthday with a look back at his brilliantly twisted oeuvre.

Mar 15, 2016 — Set during the height of McCarthy-era paranoia and arriving in 1962, in the middle of the Cuban Missile Crisis, John Frankenheimer’s high-anxiety Communist conspiracy thriller tapped into the darkest fears of Cold War America.