On Film

Mike Leigh, Hayao Miyazaki, Céline Sciamma, and Jessica Beshir discuss their work, and Farran Smith Nehme launches a newsletter.

With the candor and rage of many hip-hop albums of the nineties, the Hughes brothers’ controversial debut feature depicts Watts as a pitiless urban war zone with no exit.

The Safdie brothers explore money, basketball, and racial tensions in this manic tale of a New York City jewelry dealer’s existential meltdown.

Modern in conception but postmodern in effect, the film hailed by many as the greatest ever made has been the subject of cinephilic passion and intense critical analysis since its release in 1941.

In the context of Sydney Pollack’s gender-crossing comedy, the mellow love theme sung by Stephen Bishop suggests that the plenitude of romantic possibility has the power to break down social boundaries.

The newly opened museum celebrates the centenary with a two-part retrospective.

Brief notes on films arriving from Mike Mills, Tatiana Huezo, Jane Campion, Robert Greene, and Radu Jude.

Six writers confront their fascination with films about murderers, including the true-crime shocker Angst, the quasi-documentary Landscape Suicide, and the erotic thriller In the Cut.

Having won major prizes in Berlin and Cannes, the director has been talking openly about his background, influences, and working methods.

Tsui Hark’s epic martial-arts saga revolutionized Hong Kong cinema by presenting a complex portrait of modern Chinese history and setting a gold standard in action choreography.

Starting with his first movie, in 1949, the Cantonese folk hero became a pop-culture phenomenon whose personality evolved to suit the times.

Paul Newman’s forthcoming memoir, Bill Gunn’s 1981 novel, and Melissa Anderson’s Inland Empire are among this month’s notable titles.

A new podcast delves into the life and work of Chantal Akerman, and Reverse Shot opens a new symposium.

The author of the acclaimed book Pop Song came to her love of cinema—including the work of Agnès Varda—by trying to watch her partner’s favorite films through his eyes.

Over time, the former child star learned to love his work.

Julia Ducournau’s Titane, Jasmila Žbanić’s Quo Vadis, Aida?, and Florian Zeller’s The Father lead with four each.

MoMI presents a conversation with the director about his new memoir and a screening of A Room with a View.

This week heads in all directions—noir, musicals, and the avant-garde.

Kenneth Branagh and Philip Barantini lead the race for this year’s British Independent Film Awards.

The director of the award-winning short Between You and Milagros, now playing on the Criterion Channel, talks about her personal connection to the film’s portrait of tense familial bonds.

So far, the Museum’s programmers have selected nearly twenty films that they believe “will stand the test of time.”

As Denis Villeneuve prepares Dune: Part Two, writers delve into the religious and political ideas that inform the new franchise.

Federico Fellini’s earliest masterpiece is a story of despair and optimism, cruelty and salvation, that occasioned the director’s ascent to stardom.

A lost Iranian melodrama returns, Reverse Shot and Caligari tell us scary stories, and Robert Mitchum is the star of Noirvember.