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    • Kenneth Lonergan Returns with Tomorrow Is a Drag; Aubrey Plaza, Adam Driver, Matthew Broderick, and Vanessa Kirby Starring

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    • Exclusive Trailer and Poster for Lisandro Alonso’s Double Freedom Marks a Powerful Reunion

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    • “Making Movies Should Be a Pleasure”: Olivier Assayas on The Wizard of the Kremlin

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News

TCM is Bringing Their Classic Film Festival to Your Home

SXSW Review: For Madmen Only is a Hilarious, Energetic Biography of Del Close

Brian De Palma Says Modern Filmmaking Has Lost a Sense of Beauty

Alejandro González Iñárritu to Return With New Film Shot by Bradford Young

The Five French Classics Wes Anderson Showed The French Dispatch Cast & Crew

2020 Cannes Film Festival Officially Postponed

Portrait of a Lady on Fire, Come and See & More Coming to The Criterion Collection in June

Tilda Swinton Shares 11 of Her Favorite Films and a 1-Hour, Career-Spanning Talk

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Bong Joon Ho Says He’d Love to Make a Musical

All Movie Theaters in NYC and LA Ordered to Close; What Does it Mean for Indie Film?

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Kenneth Lonergan Returns with Tomorrow Is a Drag; Aubrey Plaza, Adam Driver, Matthew Broderick, and Vanessa Kirby Starring

Cannes Review: Asghar Farhadi’s Parallel Tales Is an Ambitious If Tedious Take on Kieślowski

Cannes Review: Gentle Monster Is a Masterfully Performed Drama In the Aftermath of Betrayal

Cannes Review: With Club Kid, Jordan Firstman Announces Himself as a Director to Watch

Exclusive Trailer and Poster for Lisandro Alonso’s Double Freedom Marks a Powerful Reunion

Cannes Review: Fatherland Finds Paweł Pawlikowski in a Heady, Aching Register

NYC Weekend Watch: Korean Cinema’s Celluloid Fever, Southland Tales, Gamer & More

New to Streaming: Yes, The Love That Remains, The Christophers, Project Hail Mary & More

The Criterion Channel’s June Lineup Features Odysseys, Weddings, James Bond, and Brian Eno

Cannes Review: Teenage Sex and Death at Camp Miasma Is a Joyful Addition to Jane Schoenbrun’s Box of Mysteries

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