Gone fishing: the documentarian talks about his first feature in over a decade, an emotionally devastating and intricately ...
Beyond the frame: films by Anocha Suwichakornpong, Ross McElwee, and Bani Khoshnoudi open lines of flight into the shared social and historical world to which they—and we—belong ...
Alice Guy was not merely the first woman filmmaker; she was in fact an authentic motion picture pioneer both in the expansion of a film aesthetic and in the development of the new art’s technical ...
Taxi Driver has a lot of negative aspects, but it would be silly to shrug off its baroque visuals and its high-class actor, Robert De Niro, whose acting range is always underscored by a personal ...
“I just came from Deep River, Ontario, and now I’m in this dream place,” says Betty, the absurdly naive and optimistic young actress whose downward trajectory is the emotional and narrative center of ...
Michael Koresky is the senior curator of film at the Museum of the Moving Image, and a member of the National Society of Film Critics. He frequently writes for the Criterion Collection, and hosts and ...
ROGER CORMAN: I started originally as a messenger at Fox. I came out of Stanford as an engineer, worked four days and quit. The only way I could get into the business was a messenger. I worked ...
When filmmaking couple Joe Brewster and Michèle Stephenson’s 5-year-old son Idris and his best friend, Seun, both African-American, are accepted into the highly prestigious and almost exclusively ...
Time is a formidable enemy in Cristian Mungiu’s 4 Months, 3 Weeks and 2 Days, and thus it’s appropriate that its scenes, shot in handheld cinemascope, are built around prolonged, pitilessly unblinking ...
Land of the Pharaohs (1955, Howard Hawks). When I first saw it, as a kid, Land of the Pharaohs became my favorite film. I’d always been addicted to historical epics, but this one was different: it ...
“I don’t know if you’re a detective or a pervert,” remarks Sandy (Laura Derm) to Jeffrey (Kyle MacLachlan) at a crucial juncture in the harrowing new David Lynch picture, Blue Velvet. We never are ...
The story of Third World Cinema Corporation—a fledging production house founded by Black and Latino artists in 1971—is at once inspirational and heartbreaking. An earnest “for us, by us” effort to ...
Some results have been hidden because they may be inaccessible to you
Show inaccessible results