Michael Atkinson

Childishly anarchic in worldview and distinctly analog in look, the animated films of Bill Plympton are a testament to the pleasures of painstaking craftsmanship.

One of Czechoslovak cinema’s masters of illusion dazzled audiences with obsessively handcrafted fantasias that combined live action, animation, and the influence of nineteenth-century graphic illustration.

The subject of a career retrospective on the Criterion Channel, this risk-taking, death-defying visionary of the New German Cinema makes movies that are forces of nature.

David Lynch took his obsession with lost American innocence into bizarre new territory in the cartoon series DumbLand, originally made for his website and now available on the Criterion Channel.

Injecting the Czechoslovak New Wave with postmodern rage and formal risk, Jan Němec’s debut feature is a merciless look at human consciousness under siege.

With her a capella take on the Rolling Stones’ “As Tears Go By,” the singer turns a brief moment in one of Godard’s most playful films into a reflection on loss.

At the dawn of sound cinema, French theater titan Marcel Pagnol immortalized his epic vision of his native Provence in three exquisite humanist dramas.

In one of the first major films to confront the contemporary refugee crisis in Europe, Jacques Audiard brings a genre-busting approach to an explosive subject.

Guillermo del Toro’s anti–Wizard of Oz refracts the surreal traumas of the Spanish Civil War through the eyes of a young girl.

Monte Hellman’s existential westerns take Beckett to the desert.

A review of the American auteur’s posthumously published novel

Marcel Carné’s tale of love and devilry in medieval France was a sensation during the German occupation.

Hollywood has been importing talented European filmmakers at least since the early twenties, when Victor Sjöström and Ernst Lubitsch heeded the siren wail of Tinseltown resources, and their work there has tended to quickly obscure the cultural m

If ever there was a European art film that could be all things to all people, it’s Wim Wenders’s 1987 masterpiece.

In Tempo di viaggio (1983), the doodle Andrei Tarkovsky and Tonino Guerra made for Italian TV as they prepped Nostalghia, the great struggling Russian answers a question about genre films by saying that his Solaris (1972) is “not so good,” essent

Certainly one of the wildest, most original, and most instinctive movie stars turned auteurs in the Hollywood annals, Cornel Wilde made procedurals of uncivilized survival, in a visual syntax that ranges from comic-strip splat to outright gut punch.

Here we are in the dark territories again, the republic of bitternesses and bile known as noir, squaring our jaws against an amoral universe and roaming the rain-wet, lightless American City as if it were a circle of the inferno where backstabbers, g

To fully submerge into the antiquated, almost aboriginal mirage of Julien Duvivier’s Pépé le moko (1937), you cannot overlook its position as a cog in the dream-works of film history. Seasoning post-WWI fatalism with what would become film noir�

Like many artists, René Clair has been the victim of the canon wars. Once considered one of the greatest of French filmmakers, Clair was lambasted by the aboriginal Cahiers du cinéma crowd for studio-bound artifice, lightweight story hyperconstruct

Openly, serenely delighted with how our own dreams can appall us, and how close movies are to that appalling dreaminess, Luis Buñuel may have been the greatest filmmaker of the first century. Certainly among the ten or twelve unassailable masters of