May 28, 2013 — For Haskell Wexler, the director of Medium Cool, and the Oscar-winning cinematographer of Who’s Afraid of Virginia Woolf? and Bound for Glory, writing about his ten favorite Criterion films became a trip down memory lane. His responses, made up of...

Haskell Wexler is the two-time Academy Award–winning cinematographer behind Who’s Afraid of Virginia Woolf and Bound for Glory. The 1969 film Medium Cool, which he wrote, directed, and shot, was selected for preservation by the Library of Congress in 2003.

Nov 20, 2018 — The loss of Pablo Ferro and Douglas Rain reminds us that Kubrick had a sharp eye for unique talent.

Dec 21, 2016 — Garrett Brown in our kitchen reenacting a Steadicam-shot scene from Blow Out In 1975, the cameraman Garrett Brown revolutionized filmmaking technology with the Steadicam, an invention that brought together the agility and immediacy of a handheld camera with the smoothness and...

Jan 5, 2016 — The late Haskell Wexler wore many hats—he was an independent, impassioned documentarian; a commercial Hollywood cinematographer; a political and social activist; an institutional (even union) contrarian. He was also an exemplar of how to live.

Jul 14, 2026 — One of the funniest and most affecting scenes in 1970s Hollywood cinema is also one of the most quietly radical—no small feat in a decade of movies marked by wiggy experimentation, explosions of brutal and cathartic violence, and shaggy new...

Feb 10, 2023 — We head this week to Germany before and after the war and then revisit gruesome killings in Japan and France.

Aug 25, 2022 — While working on our edition of Martin Scorsese’s 1980 masterpiece, producer Abbey Lustgarten found out how the director achieved some of the movie’s most evocative visual and sonic effects.

Oct 3, 2017 — From Catherine Grant comes word that the third issue of Film Journal is now online, and it’s got a theme: “Since the Lumière Brothers’ The Arrival of a Train at La Ciotat Station (L’Arrivée d’un train en gare de La...

Jul 10, 2017 — “While many of my more memorable screenings involved companions and cohorts—seeing Barbarella on a second date with the woman I’d eventually marry; catching a revival of Andrei Rublev with a friend as an elderly Russian lady noisily ate stinky borscht...