Two People

Nov 23, 2021 — The End In the end, it should not have come as any kind of surprise. When Alfred Hitchcock’s Vertigo dethroned Orson Welles’s Citizen Kane (1941) as the greatest film of all time in Sight & Sound magazine’s international poll of...

Nov 17, 2021 — Decades after Peter Lorre’s knife-toting creep Hans Beckert prowled the Berlin streets in search of little girls in Fritz Lang’s M (1931); after Robert Mitchum’s silver-tongued Harry Powell cut down all the “smooth and curly-haired things” he could get his...

Nov 17, 2021 — Having won major prizes in Berlin and Cannes, the director has been talking openly about his background, influences, and working methods.

Nov 16, 2021 — Tsui Hark’s epic martial-arts saga revolutionized Hong Kong cinema by presenting a complex portrait of modern Chinese history and setting a gold standard in action choreography.

Nov 16, 2021 — Starting with his first movie, in 1949, the Cantonese folk hero became a pop-culture phenomenon whose personality evolved to suit the times.

Nov 12, 2021 — First Person At the end of February of 2020, I watched The Gleaners and I with my boyfriend at BAM. It was, I thought, an ordinary day. We bought tickets in advance because we knew the small theater’s screenings always...

Nov 5, 2021 — A teenage girl looks on with both envy and disapproval as her mother shimmies on the dance floor in the arms of a lover. “Beautiful,” observes a friend. “I know,” says the daughter, bitterly, before falling asleep in her nanny’s...

Nov 4, 2021 — So far, the Museum’s programmers have selected nearly twenty films that they believe “will stand the test of time.”

Oct 27, 2021 — Stephen Winter’s subversive, imaginative work simultaneously celebrates Black queer culture and fiercely threatens cinematic and societal conventions. In conversation as in his work, the director, producer, and writer deftly balances a warm wit with strikingly incisive honesty. Winter has played...

Oct 26, 2021 — Considered his first directly political film, Satyajit Ray’s 1960 masterpiece explores how the denial of self-knowledge, a void neither religion nor Western rationalism can fill, takes a toll on women in Indian society.