On Film

We’re wrapping the week with conversations with Lilly Wachowski, Shunji Iwai, and Tsui Hark as well as essays on Ozu and Ghatak.

A series of films Malle made in the U.S. opens with an excellent documentary on the director’s life and work.

The curators of a showcase of trans directors now playing on the Criterion Channel discuss the work of these trailblazing artists, who have brought new layers of nuance and insight to cinematic depictions of their community.

This year’s lineup features lots of music, another De Niro and Scorsese reunion, and an AI-generated feature.

Gorin will discuss films he’s selected as well as his own work and his collaborations with Jean-Luc Godard.

The world’s most desolate film festival expands to nearly a hundred theaters in seventy-three cities.

We’re revisiting work by Tarkovsky, Pelechian, and Portabella as well as two films with the word Dead in the title.

Film at Lincoln Center and Cinecittà present two series back to back, Open Roads: New Italian Cinema and History, Italian Style.

The longtime Criterion Collection and Janus Films contributor reflects on his role in the golden age of art-house cinema and his life as a film critic, historian, publisher, and festivalgoer.

In this powerful drama about family and memory, Joachim Trier explores how the past lives on in us, shapes us, and partly determines who we are and how we feel.

A keen and patient observer who has taken her camera to such far-flung destinations as Peru, Laos, and Uganda, the acclaimed filmmaker immerses viewers in unfamiliar situations that highlight the fluid dynamics of human interaction.

This year brought restorations of Ken Russell’s The Devils and docs on Vittorio De Sica, Chris Marker, David Lean, and Bruce Dern.

In His Girl Friday, The Apartment, and other classic films about love in the workplace, Hollywood grappled with the evolution of American sexual politics and the glories and pitfalls of professional achievement.

Featuring a quasi-documentary format that was innovative for its time, Bob Fosse’s complex portrait of stand-up comedian Lenny Bruce is a gesture of postmortem outreach from one prickly, jagged-edged artist to another.

Top prizes go to films by Cristian Mungiu, Andrey Zvyagintsev, Valeska Grisebach, Paweł Pawlikowski, and Los Javis.

This week brings a look back at Cronenberg’s Crash and conversations with Boots Riley and Wallace Shawn.

The Cannes sidebar wraps with prizes for three stories about teenage girls and another about a determined adult woman.

There’s zero consensus when it comes to the latest films by Na Hong-jin and Cristian Mungiu.

New films by Ryusuke Hamaguchi and James Gray are riding high on the Cannes critics’ grids.

The Lumière brothers were not just inventors who brought about major advancements in motion-picture technology, they were also cinema’s first artists, capturing modern life with dynamic compositions and ingeniously choreographed action.

New-media pioneer Shu Lea Cheang’s astonishingly prescient dystopian vision takes place in a world where technology feels sticky and bodily, and where networks seep into food, water, and flesh.

In his stylish and provocative directorial debut, Lawrence Kasdan uses the vehicle of a sex-and-murder plot to explore the film’s historical moment, which gave rise to the greed and amorality of the Reagan era.

Critics are taking to Paweł Pawlikowski’s Fatherland, Radu Jude’s The Diary of a Chambermaid, and Jordan Firstman’s Club Kid.

This week: Super 8 films by Teo Hernández, a new feature from Patrick Wang, and a revival of Aloïse (1975), starring Isabelle Huppert and Delphine Seyrig.