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Dec 29, 2022 Martin Scorsese, Hayao Miyazaki, Catherine Breillat, Michael Mann, Christian Petzold, David Fincher . . .

Jul 5, 2017 Robert Pattinson is on the cover of the new issue of Film Comment and online we find a brief excerpt from editor Nicolas Rapold’s interview with the star of Josh and Benny Safdie’s Good Time.Amy Taubin describes what, for her,...

Nov 12, 2025 In this Sundance-award-winning exploration of war and memory, writer Cathy Linh Che shines a spotlight on her parents, who were Vietnamese refugees living in the Philippines when they were cast as extras in Apocalypse Now.

Dec 14, 2021 In 1968, soon after he graduated from the Film and Television Institute of India, Mani Kaul made an arresting short titled Forms and Designs. It observes artisans at work across the country, some swimming alone against the tide of mass...

Apr 18, 2011 An Eagle for an Emperor, a Gyrfalcon for a King;   a Peregrine for a Prince, a Saker for a Knight, a Merlin for a Lady;   a Goshawk for a Yeoman, a Sparrowhawk for a Priest,   a Musket...

Jan 21, 2025 Lynchian may be impossible to define, but you know it when you see it.

Jun 30, 2020 Come and See (1985) is one of those films whose authority is established from its opening moments. Out in the open air, an elderly peasant dressed in a soft-peaked beret is volleying a mixture of threats and imprecations into some...

Sep 24, 2018 This faithful screen adaptation of Lorraine Hansberry’s legendary play explores a wide range of perspectives on working-class black life, and over the years has inspired reactions just as diverse.

May 27, 2020 Walking, like breathing, is something we do without thinking, an activity so commonplace that pedestrian has as its second meaning uninspired, ordinary, dull. Movies, however, reveal this action as more than just the original mode of getting from here to...

Mar 17, 2010 1. A Park—Night A man aflame is running directly toward camera. This image, which comes from Nicholas Ray’s initial treatment for Rebel Without a Cause, might stand at the head of almost any of Ray’s movies, since it so clearly...

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