May 12, 2008 — Today it may be hard to understand the shock waves that Louis Malle’s romantic drama created with its “frank” depiction of a woman’s sexual pleasure, but in the context of late-1950s France, it was a bombshell.

Aug 4, 2025 — The Lovers on the Bridge (1991) is restored, a series is on in New York, and another heads to Austin.

Dec 30, 2008 — It’s the last day of 2008, and all the balloting is finally done. Here’s a rundown of how Criterion rated in the best DVDs of the year polls: The Sight & Sound list included Criterion’s “gripping morality tale” Death of...

Mar 8, 2021 — Son of avant-garde filmmaker Ken Jacobs, Azazel Jacobs was raised in lower Manhattan surrounded by artists. He received his bachelor’s degree in film from SUNY Purchase and his master’s from the American Film Institute. His credits include The Good Times...

Nov 29, 2017 — Tracy Letts is an American playwright, screenwriter, and actor. He received the 2008 Pulitzer Prize for drama for his play August: Osage County and a Tony Award for his portrayal of George in a revival of Who’s Afraid of Virginia...

Jun 19, 2009 — Forty-six years ago, Last Year at Marienbad opened in London. Resnais and Robbe-Grillet came over for the press screening, and I chatted to them in the lobby of the now defunct Cameo-Poly art house on London’s Upper Regent Street. Resnais...

Jan 1, 2022 — Ring in the new year with the French New Wave, Joseph L. Mankiewicz, and a look back at the 1992 Sundance Film Festival.

Aug 24, 2016 — During a 2006 meeting with the author, French New Wave icon Jeanne Moreau reminisced about working with Orson Welles, Louis Malle, and François Truffaut, and her turn to acting as a means of eluding the “destiny of a regular girl.”

Jan 14, 2025 — In this digressive, intensely interior masterpiece, Jean Eustache mines the dramas of his past romances while also capturing the disillusionment of young Parisians in the aftermath of May 1968.

Jun 25, 2024 — Barry Jenkins’s extraordinarily ambitious limited series distinguishes itself in the tradition of the cinematic slavery epic through its understanding that Black joy and Black trauma cannot be cleaved from each other.