On Film

PTA wins one accolade after another, and Peter Hujar’s Day leads the nominations for the Film Independent Spirit Awards.

The Academy Museum celebrates film presentation with a series of twenty-four new restorations.

Even as he carries on winning awards, Jafar Panahi is sentenced to another year in prison.

In a string of short films he made in the 1920s, Man Ray brought a restlessly inventive spirit to a young medium, pushing the boundaries of cinematic form with frenetic editing, abstract imagery, and surrealist camera tricks.

One of the most vital playwrights of our era was also an award-winning screenwriter.

This short week brings writing on Wong Kar Wai’s first series and Kubrick’s and Pasolini’s last features.

Inspired by Arthur Schnitzler’s 1926 novella Traumnovelle, Stanley Kubrick’s final film is a deeply personal examination of the fragility of marriage and the destructive power of sexual fantasy.

Having broken through in over-the-top horror movies, Kier turned in arresting performances in films by Fassbinder, Lars von Trier, and Gus Van Sant.

This month brings new collections from Melissa Anderson and A. S. Hamrah and a whole shelf of lives lived with the movies.

Look who’s talking: Sissy Spacek, Sylvia Chang, Ryan Coogler, Jean Renoir, and Roberto Rossellini.

To complement his new exhibition, Jafa programs a series of four double bills.

Joachim Trier’s family drama stars Stellan Skarsgård as a renowned film director and Renate Reinsve and Inga Ibsdotter Lilleaas as his estranged daughters.

Though the first two decades of the Iranian filmmaker’s career have long been underappreciated, this fertile period yielded philosophical and restlessly innovative works that reinvigorated both documentary and narrative-fiction cinema.

A pre-Code aviation epic that makes pioneering use of the era’s innovations in cinematic color and sound, Howard Hughes’s directorial debut was Hollywood’s first modern portrait of World War I.

This tale of paranoia and romantic jealousy slyly combines the conventions of popular Mexican filmmaking with the surrealist sensibility that made its director, Luis Buñuel, a legendary figure in his native Spain.

Ten years before Ghost in the Shell, the director made one of his most enigmatic and personal works.

This week: Buñuel revivals, the Rock Hudson centenary, and Mishima’s Japanese premiere.

The filmmaker’s memoir is “messy, manic, and shot through with revelation.”

The director of Rat Trap and Monologue was an uncompromising artist who helped establish the Indian state of Kerala as a hub of bold political filmmaking.

He anchored some of the best films by Kurosawa, Kobayashi, Okamoto, Naruse, and Teshigahara.

In this Sundance-award-winning exploration of war and memory, writer Cathy Linh Che shines a spotlight on her parents, who were Vietnamese refugees living in the Philippines when they were cast as extras in Apocalypse Now.

“It’s the end of the world, but keep dancing,” says Laxe.

Olivia Laing’s second novel is set in mid-1970s Rome, where Fellini is shooting Casanova and Pasolini is at work on Salò.

Ira Sachs’s new film opens this week, plus: Joy Williams on Gene Hackman and Claire Atherton’s work with Chantal Akerman.