Apr 10, 2017 — An exhibition at New York’s Museum of the Moving Image explores Martin Scorsese’s creative process, his deep personal connection to his films, and his lifelong cinephilia.

Jan 4, 2018 — Jacques Demy made his return to France after a stint in Hollywood with this Jean Cocteau–inspired vehicle for Catherine Deneuve, screening at Toronto’s Royal Cinema next week.

Sep 6, 2017 — “Murray Lerner, a seminal music documentary filmmaker of the 60s and 70s, has died at age 90 in New York City,” reports Paula Parisi for Variety. “Lerner won an Oscar for best documentary in 1981 for From Mozart to Mao:...

Jun 22, 2023 — Our latest slate of programs dives into one of science fiction’s favorite themes, the film career of one of rock and roll’s greatest icons, and midcentury pulp from across the Atlantic.

Jan 1, 2021 — Along with new features from Pedro Almodóvar, Lynne Ramsay, and Todd Haynes, the new year will bring series directed by Barry Jenkins, Sofia Coppola, and Wong Kar Wai.

May 27, 2020 — “A filmmaker shows what his career will be in his first 150 feet of film,” François Truffaut once wrote. He was talking about Jean Vigo at the time, but he might as well have been talking about Martin Scorsese, whose...

Dec 13, 2023 — In June 2023—six months after the release of his Oscar-winning, stop-motion, antifascist-fable version of Pinocchio—Guillermo del Toro found himself speaking to an audience at the Annecy International Animation Film Festival. Teenage Mutant Ninja Turtles: Mutant Mayhem, an underground-comix-influenced, hand-drawn-looking cartoon...

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...

Apr 19, 2022 — Vittorio De Sica’s neorealist fable deploys barbed humor and surreal flourishes to depict class solidarity and human kindness in postwar Italy.

May 19, 2014 — As in his other films, the world of Abbas Kiarostami’s latest is one of simulation, not-quite-realness, and unexpected tenderness.