Mean Streets: Rites of Passage
Martin Scorsese’s breakthrough feature—a rare example of a work of personal cinema with broad popular appeal—delivers all the elements of his future career in one spectacular, bravura throw-down.
Paris Belongs to Us: Nothing Took Place but the Place
Paris Belongs to Us marked the genesis of Jacques Rivette’s unique filmmaking style—introducing visual and narrative elements that Rivette would build on over the course of his long career.
Burroughs, That Proud American Name
Burroughs: The Movie, the culmination of late director Howard Brookner’s NYU thesis project, follows William S. Burroughs over the course of five years and provides “an authorial profile such as has never been and may never be matched.”
Metropolitan: After the Ball
Down by Law: Chemistry Set
L’Atalante: Canal Music
The Docks of New York: On the Waterfront
The Third Man: The One and Only . . .
The Naked City: New York Plays Itself
In 1945 Arthur Fellig, known as Weegee, a canny and gifted tabloid newspaper photographer, did something unprecedented: he assembled some of his best shots, of corpses and fires and arrests and crowds and spectacles, and made them into a book, publis…
Port of Shadows
Pickup on South Street: Extra! Pickpocket Foils Doom Plot!
In this quintessential noir, Samuel Fuller breaks with the Red Scare formula of his contemporaries by contrasting the faceless evil of Communism against the peccadilloes of the workaday American crook.
Quai des Orfèvres
Quai des Orfèvres is nominally a policier—a crime story, less a mystery than a police procedural; its title, referring to the Parisian equivalent of Scotland Yard, announces it. But title and genre are misleading, they are foliage. As a crime pict…