Rarely has a star been less visible than Jordi Mollà in Aggro Dr1ft. You could surmise this only knowing the film by random screenshots invariably featuring th...
For their latest retrospective, Metrograph have turned their sights towards Kelly Reichardt. Ahead of "American Landscapes: The Cinema of Kelly Reichardt" runn...
Safe to say Drive My Car's success wouldn't have reached its historic heights sans Eiko Ishibashi, whose musical contributions acted as both complement and cou...
I've predicted Megalopolis, anticipated as it is, will have a clear dividing point: the cultural commentariat hoping to see "another film by the director of Th...
Rarely does film news engender such outcry as word of Netflix cancelling David Lynch's animated feature Snootworld––and understandably so––but I'm far more inc...
Although John Carpenter's primarily worked in (and forever defined) sci-fi and horror pictures, the man has long loved noir. (Never forget Harry Dean Stanton b...
NYC Weekend Watch is our weekly round-up of repertory offerings.
Roxy CinemaOur House of Tolerance 35mm presentation returns Friday; prints of Night Tide an...
Cannes begins, against all reason, two weeks from today, and with it comes the trailer for this year's opening-night selection. (Arriving in French theaters th...
I was very gratified by the response to last year's interview with Rob Tregenza, a Zelig-like figure of modern cinema. Our very long, multi-Zoom conversation c...
However hard it is to expand the canon, legwork must always be done. In my own time I've seen the understanding of mid-century Japanese cinema expand, however ...