Restorations and retrospectives are plentiful enough that it's hard to believe Oliver Assayas' early career bears no imprint on American film culture. While ce...
NYC Weekend Watch is our weekly round-up of repertory offerings.
Brooklyn Center for Theatre ResearchMy Dylan-scored cut of Tod Browning's The Unknown has o...
November, Noirvember, tomato, tomahto. The Criterion Channel continue their quest to find every known subgenre with "Blackout Noir," which places Terence Fishe...
Jafar Panahi arrives in the United States as both a vector of history and blank slate. His profile would be enough were he only one of Iran’s leading filmmaker...
Criterion will not begin 2026 on a quiet note. It's notable enough that we now have Edward Yang's Yi Yi, a consensus pick for the 21st century's greatest film,...
In the last five-or-so years I've probably not acquainted myself with a better filmmaker than João César Monteiro, who I'd either distill as the closest analog...
NYC Weekend Watch is our weekly round-up of repertory offerings.
Japan SocietyIn perhaps the best series of the year, Japanese teacher and critic Shiguéhiko...
Christian Petzold's Miroirs No. 3 has arrived stateside and, on the occasion of its NYFF premiere, I had the pleasure of speaking to him yesterday morning. Our...
NYC Weekend Watch is our weekly round-up of repertory offerings.
Film at Lincoln CenterNYFF Revivals continues with Queen Kelly on Friday and Robert Wilson ...
Ed Wood died the better part of a half-century ago, and to this day his reputation as the world's worst filmmaker persists. Even in this era when seemingly eve...
