Dec 14, 2017 — Emotion Pictures: International Melodrama is a sixty-two film series now running at the Film Society of Lincoln Center in New York through January 7. “Sam Fuller famously defined cinema as ‘emotion,’ and just about every variety of it may be...

Aug 25, 2015 — In Jean-Pierre and Luc Dardenne’s moving and humane critique of capitalism, true interpersonal communication is the only thing that can save us.

Feb 12, 2013 — The Dardenne brothers return to the streets of Seraing for a typically humane and suspenseful story of personal redemption.

Jul 22, 2025 — In his achingly beautiful debut feature, Kenneth Lonergan captures the dynamics of a sibling relationship shaped by grief, revealing its complexities with narrative economy and deep emotion.

Sep 13, 2004 — Fifteen years ago I received a letter from a young film director in Texas, who enclosed a tape of his first film, with the unlikely title It’s Impossible to Learn to Plow by Reading Books. It might as well have...

Dec 9, 1991 — We used as much of the actual detail of physical things and of technique as we could possibly cram in, and as many players reflecting the endless variety of character and emotion of the real men as dramatization would allow.

Oct 15, 2050 — Voice-over narration has existed since the beginnings of cinema and has been an integral part of some of the great masterworks of narrative film, from The Magnificent Ambersons to Double Indemnity to Jules and Jim to Taxi Driver. It spans...

Oct 16, 2013 — Georges Franju deftly balances fantasy and realism, clinical detachment and operatic emotion, beauty and pain, all presided over by Edith Scob’s haunting, haunted eyes.

Sep 8, 1998 — In David Lean’s Summertime, in which Rossano Brazzi seduces Katharine Hepburn—an aging, repressed Ohio “working girl” on vacation in Venice—the Continental lover reached his pinnacle and approached his end. In the next decade, he would be embodied by Marcello Mastroianni,...

The director of Flow praises the mixture of abstraction and emotion in Woman in the Dunes, talks about how Martin Scorsese played by his own rules with After Hours, and selects his comfort movie, Fantastic Mr. Fox.