Jun 27, 2011 — A rogue’s gallery of vituperative 1950s vixens and night-world tough-guy gargoyles all coalescing in a constellation of twinkling cold war lights, Robert Aldrich’s Kiss Me Deadly is a film of a thousand stars. Stars of every sort, size, and description:...

Jan 26, 2021 — As awards season picks up its pace, we have news, too, from France and New York.

Jan 25, 2021 — The blacklist couldn’t stop the irrepressible screenwriter known for his work with Sidney Lumet and Martin Ritt.

Mar 17, 2008 — During the Second World War, when Hiroshi Teshigahara was a schoolboy, Japan’s cities—above all his hometown, Tokyo—were mercilessly firebombed. He, and his future associates in countless artistic undertakings, returned to a landscape of bleak ruins. The adolescent Hiroshi was particularly...

Jul 6, 2020 — Josephine Decker’s most recent feature film, Shirley, which was released in June by Neon, premiered in U.S. Dramatic Competition at Sundance, where it received the Special Jury Award for Auteur Filmmaking. Madeline’s Madeline, Josephine's previous film, premiered at the 2018...

Joseph Fahim is a film critic, curator, and lecturer. His writing has appeared in Sight and Sound, MUBI’s Notebook, BBC Culture, and Middle East Eye, and has been translated into eight languages. He has curated film programs in the U.S.,...

Jan 30, 2020 — Elisabeth Moss plays Shirley Jackson, but Decker’s fourth feature is anything but a conventional biopic.

Jan 26, 2018 — We turn first to IndieWire’s David Ehrlich: “‘The emotions you are having are not your own, they are someone else’s. You are not the cat—you are inside the cat.’ So begins Josephine Decker’s Madeline’s Madeline, an ecstatically disorienting experience that...

Feb 28, 2012 — The Swedish actor Erland Josephson died this week at age eighty-eight. We can think of no better tribute to the great actor (known especially for his commanding and playful performances in such films by Ingmar Bergman as Cries and Whispers,...

The filmmaker and artist shares his intimate connection to The Color of Pomegranates, talks about the “invisible magic” of Edward Yang’s cinema, and praises the innovative cinematography in Tokyo Olympiad.