The legendary animator, who has worked on such Disney classics as Sleeping Beauty and Mary Poppins, talks about taking inspiration from Alfred Hitchcock, Akira Kurosawa, and Zoltán Korda’s Jungle Book.

Oct 24, 2025 — This French art-horror master shocked audiences with a string of sexy vampire movies often centered on complex female friendships and women-ruled fantasy worlds.

Jan 29, 2021 — Dark Passages A nightclub floor show with dancers kicking and tapping under a scrim of cigarette smoke and the murmuration of an indifferent crowd. Couples listlessly swaying in a second-floor ballroom, the men clutching rolls of tickets and the ladies...

Sep 17, 2010 — This has been a luminous year for the world-renowned Toronto International Film Festival, now in its thirty-fifth edition—and not only because of the high quality of the films. When the ten-day event began, buzz was already in the air about...

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...

Jun 4, 2021 — The festival returns with a full-to-bursting official selection that includes an entirely new program.

Nov 22, 2017 — We begin with the latest entry in Reverse Shot’s symposium on time, Chris Wisniewski’s, on Rainer Werner Fassbinder’s The Merchant of Four Seasons (1971). The focus here is on “a sequence that seems at first ordinary and unravels under scrutiny,...

Jul 28, 2014 — Jacques Demy’s first full-fledged storybook fantasy challenges and subverts traditional fairy-tale norms.

Dec 7, 2010 — Guillermo del Toro understands the power of fairy tales. Not the prettified romances of Charles Perrault, who tamed the Brothers Grimm for French drawing rooms, or the charming animal fables of Aesop, or the reassuring moral lessons Disney made of...

Sep 23, 2002 — The theatricality of Alfred Hitchcock’s thriller makes the point that psychoanalysis is a sister to cinema rather than a rival.