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Feb 25, 2019 — Songbook Pace Lou Reed, nobody’s life is saved by rock and roll in Cold Water. This in spite of  its young characters’ relentless pursuit of it, in both musical and metaphysical forms. Made in 1994, set in 1972, Olivier Assayas’s...

Feb 22, 2019 — If I were to list the criteria for my ideal project, creating a sculpture of Tadzio, the young boy from Death in Venice, for a Criterion release of Luchino Visconti’s adaptation would just about tick off all the boxes. Firstly, I love cinema,...

Feb 20, 2019 — An overview of the award winners and a few critical and personal favorites.

Feb 19, 2019 — Under the Influence Debuts don’t get much more auspicious than Hale County This Morning, This Evening. Widely acclaimed and Oscar-nominated, RaMell Ross’s first feature-length documentary trains its lyrical focus on two young Alabamians’ divergent paths into adulthood, all while reflecting...

Feb 13, 2019 — The utterly delightful new film is the ninety-year-old artist’s guide to her films, photography, and visual art.

Feb 6, 2019 — On the Criterion edition of Secret Sunshine, Lee Chang-dong describes his creative process as one of utter despair. That should come as no surprise to anyone who knows his work. Since making his feature debut, Green Fish, in 1997 at...

Feb 4, 2019 — Performances The first movie that Nicolas Roeg and Theresa Russell made together, Bad Timing (1980), was denounced by its distributor, the Rank Organisation, as a “sick film made by sick people for sick people,” which may sound to some like...

Feb 1, 2019 — A cast of dolls and a rhino are featured in this year’s award-winners, and Steven Soderbergh has previewed his new film.

Jan 31, 2019 — Repertory Picks Tomorrow, two of Jackie Chan’s most furiously entertaining blockbusters will swing their way back into theaters, as Police Story (1985) and Police Story 2 (1988) begin a run at Brooklyn’s Alamo Drafthouse in new 4K restorations, courtesy of...

Jan 28, 2019 — With WR: Mysteries of the Organism, the late Serbian director made what Amos Vogel called “one of the most important subversive masterpieces of the 1970s.”