On Film

Clint Bentley’s Train Dreams was the big winner at this year’s Film Independent Spirit Awards.

This week brings a tribute to Diane Keaton, notes on Taxi Driver at fifty, and three flights of the spirit.

Opening Friday: Noir City in Seattle, the Nitrate Film Festival in Los Angeles, and Cinéma Du Cashiers in New York.

The renowned distributor of nearly six thousand films, videos, and media artworks turns sixty-five.

Films from South Africa, Bangladesh, France, and Georgia are among this year’s winners.

There’s an AI-driven reconstruction of The Magnificent Ambersons underway, a restoration of Michael Almereyda’s Nadia in theaters—and more.

In London, the BFI is marking the hundredth anniversary of Wajda’s birth with a series of eighteen films.

Bong Joon Ho, Park Chan-wook, and Hong Sangsoo select films to screen in a series celebrating the Korean Film Archive.

In a collection of behind-the-scenes documentaries now playing on the Criterion Channel, legendary female performers assert their agency over their screen personae and find freedom in the glamour and artifice of their profession.

Her passing has sparked an outpouring of appreciation for the hilarious ways she found to cut loose.

This year’s winners tell stories of trauma and triumph.

In the spotlight this week: Amir Naderi, Bahram Beyzaie, Hlynur Pálmason, Robert Aldrich, Reginald Hudlin, and the late Béla Tarr.

Jonathan Glazer’s enigmatic second feature explores the terrors of being desperate for love—and the vulnerability, loneliness, and difficulty in understanding other people that might drive this state.

Critics have taken a liking to the new films from Olivia Wilde, Padraic McKinley, and John Wilson.

A resounding critical and popular success upon its release, Héctor Babenco’s adaptation of a literary masterpiece by Manuel Puig was an unprecedented cinematic fusion of a radical politics of sex with a sexual politics of revolution.

TIFF Cinematheque salutes the surrealist master with a series of fresh restorations and rare 35 mm prints.

Unencumbered by the white gaze, Reginald Hudlin’s groundbreaking feature-film debut is a celebration of a Black community in all its diversity, featuring fully realized characters who exist not as spectacle but as reality.

William and David Greaves’s film captures a gathering of Harlem Renaissance luminaries in 1972.

The new year brings an ode to Judy Garland, conversations with Martin Scorsese, and a novel by John Sayles.

This week: Max Ophuls, Erich von Stroheim, David Lynch, the Biden years, and the best of 1935.

Ryan Coogler’s genre mashup now leads what has become a genuine race.

A deft mixture of family epic, romantic melodrama, landscape cinema, and comedy, Burkinabe director Idrissa Ouédraogo’s landmark film balances the universality of its themes with the fierce individuality of its characters.

At once earnest and fantastic, carefree and mindful, G. Aravindan’s richly imagined work of folklore channels the director’s deep spiritual vision through the form of a children’s story.

This visually stunning masterpiece from Kazakh New Wave iconoclast Ardak Amirkulov is one of the few films that looks evil in the eye without flinching.