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Feb 26, 2020 — Before making history last year as the first black woman director to compete at Cannes, Mati Diop had been spending the previous ten years articulating her unique vision in a series of five acclaimed short films. The praise Diop has...

Feb 26, 2020 — Karel Zeman belonged to an obsessive fringe fellowship of moviemakers that stretched right back to the medium’s first formative days—a lineage of auteurs who believed in cinema as a full-blown daydream machine, capable of realizing inhabitable fantasias. These were filmmakers—practical-effects...

Feb 24, 2020 — “Look, Rose, find someone who isn’t sick. The ground’s covered with them.” Kirk Douglas in The Story of Three Loves Kirk Douglas’s casual mode is a look of anguished alertness. He has as an inbuilt ability to register tension, anxiety,...

Feb 21, 2020 — Reflections from Bong Joon-ho’s interpreter and a report from the set of Apichatpong Weerasethakul’s Memoria open this week’s wide-ranging round.

Feb 14, 2020 — One Scene An irresolvable tension between the natural world and scripted narrative crops up throughout the work of German filmmaker Angela Schanelec, including in her latest feature, I Was at Home, But . . . Winner of the best director...

Feb 12, 2020 — Wes Anderson’s The French Dispatch now has a trailer; and Pedro Almodóvar and Dee Rees are lining up new projects.

Feb 5, 2020 — Performances Judy Davis chomps softly into Naked Lunch: into twisted behavior, into the nuanced meat of the moment, into the juicy black center of the psychic abyss. Bombed-out but supernally alert and incongruously amused, she injects a syringe into her...

Feb 3, 2020 — Nearly half of the awards presented over the weekend went to female filmmakers.

Jan 29, 2020 — It is almost impossible to discuss Sidney Lumet’s Cold War thriller Fail Safe without also considering its more financially successful cinematic foil and fellow 1964 Columbia Pictures release, Stanley Kubrick’s Cold War satire Dr. Strangelove, or: How I Learned to...

Jan 28, 2020 — Motherhood is a recurring subject in the films of Pedro Almodóvar. The mothers in his movies are fierce, passionate, and resourceful—often in varying combinations, and to varying extremes. In Almodóvar’s darkly satirical fourth feature, What Have I Done to Deserve...