Armond White

A new era in popular music deserves a new era in filmmaking—that’s the basis of the perfect, fortuitous match-up between rock and cinema in D.A. Pennebaker’s concert film.

The most crowd-pleasing film of François Truffaut’s latter career is also one of his most personal, drawing from his memories of the German occupation of France, his schoolboy years and his lifelong infatuation with the creative arts.

Through the story of thunderously, wondrously henpecked men and a determined woman’s romantic zeal, David Lean’s comedy depicts private and social revolution.

Despite Samuel Fuller’s career-long penchant for giving controversial subjects a punchy, exploitation-movie spin, his twenty-first feature was the first to suffer outright suppression.

Eric Rohmer explores how marriage is a metaphor for social union—its strength and its fragility—in the final episode of the Six Moral Tales.

Ernst Lubitsch set the screwball comedy standard, treating hard-on material with dignified aplomb and a combination of suaveness, hilarity, and sexiness.

Before Lars von Trier, Krzysztof Kieslowski, Andrei Tarkovsky, Ingmar Bergman, Robert Bresson there was Carl Th. Dreyer. The first great film artist to pursue the ineffable in cinema, Dreyer gave depth to what early silent filmmakers innately underst

Akira Kurosawa’s period film not only commemorated historical Japanese myths with new, vivid feeling but also created the source for many of the enduring entertainment tropes in world cinema today.