Yang’s Yi Yi is a moving celebration of family and cultural identity.
Criterion rolls out the red carpet for what is arguably Buñuel’s greatest triumph.
The recycled extras may leave fans of the film feeling as if they’re stuck in detention.
Criterion gives Franju’s 1960 horror classic a remarkable facelift.
Audiard’s early-aughts breakthrough film still pulsates with passion and urgency.
Assayas’s film is a personal ode to the allure of life beyond our personal screens.
The Big Heat is a feast of resonant, unsentimental terseness.
Few American films touch the rarified air that Killer of Sheep breathes.
The new trailer puts vigilante lovebirds Jason and Lucia in the spotlight.
This is the first major survey of Naruse’s work to screen in New York in 20 years.
Lee’s film is a “reinterpretation” of Kurosawa Akira’s 1963 masterpiece High and Low.
The marketing folk over at Sony are cheeky monkeys.
Dwan’s 1949 war film gets a marvelous visual upgrade.
The trailer can’t be accused of not leaning into the elation of the material.
The film is one of Wong’s purest evocations of love’s excitement and heartbreak.
Unsurprisingly, Mission: Impossible – The Final Reckoning will screen out of competition.
Sarnoski is a good choice to address what many see as the game’s monotonal pitch.
Whannell’s film consistently struggles to overcome the obviousness of its story construction.
Today we ask ourselves if the wind has blown away from Adrien Brody in this category.
At the SAGs last weekend, it was easy to see how Emilia Pérez’s luck had faded.