On Film

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.

Jane Schoenbrun’s third feature is met with raves, while three other early entries are seeing mixed reviews.

In the landscape of gay-themed cinema, which often focuses on positivity and pride, Ira Sachs’s debut feature stands out for asking unsettling questions about the limits of queer connection across socioeconomic and racial divides.

Sorting through critics’ most-anticipated titles, catching up with interviews and profiles, and more.

We begin with the Marilyn Monroe centenary and move on to thrillers and collections of poetry and critical essays.

Film Comment relaunches, Richard Kelly writes, Lynne Ramsay prepares, and in 1976, Roberto Rossellini talked.

Jean Rouch said they created “a new cinematographic language,” and a retrospective touring North America begins in Toronto.

Erige Sehiri’s Promised Sky opens the New York African Film Festival and screens as part of Seattle’s African Pictures program.

The nation’s largest silent film festival returns to the newly renovated Castro Theatre.

L’Alliance New York presents a series of films by a director ripe for discovery in the U.S.

A new month begins with a Visconti restoration, a new issue of Senses of Cinema, and a deep backgrounder on Backrooms.

The festival presents new work by Isabel Sandoval, Kogonada, Ildikó Enyedi, and more.

Film at Lincoln Center’s thirteen-film series will feature an evening with the man himself.

In this delirious and deeply polarizing satire about political violence, the legendary director takes aim at hypocrisy and opportunism at every level of German society.

Opening with Jane Fonda’s tribute to Robert Redford, this year’s edition features several world premieres of new restorations.

In the trio of star-studded films that cemented his legacy as a groundbreaking figure in American cinema, the writer-director illuminated the hopes and struggles of Black communities in his native Los Angeles.

At a turning point in her career, one of Japanese cinema’s most beloved stars decided to step behind the camera, creating a string of remarkable films that possess the same honesty and warmth that distinguished her work as an actor.

The festival centered on experimental documentary and avant-garde film will roll out across five New York venues.

In a trio of Hollywood crime dramas made in the 1940s and ’50s—including the masterpiece Out of the Past—the director follows wayward characters who venture into profoundly unsettling landscapes and encounter the foreign at home.

Great writing this week on Maurice Pialat, Paul Newman, Johnnie To, Mark Fisher, and wrestlers.

Over the next four days, the Museum of the Moving Image will be showcasing a wide range of “adventurous new cinema.”

Boots Riley and Olivia Wilde both have two films at this year’s edition of New England’s largest film festival.

The shape-shifting artist and director of The Giverny Document talks about the Black feminist tradition, her approach to direct animation, and the influence of Toni Morrison and Soviet montage theory on her work.

A crime-cinema masterpiece whose influence can be seen in such later touchstones as Mean Streets and Reservoir Dogs, this highly stylized portrait of a gangster subordinates the needs of plot to director John Boorman’s saturated aesthetic.