These shows prove the marathon-watching juggernaut’s concern for both quantity and quality.
Nothing is quite what it seems in Jonas Hassen Khemiri’s Invasion!
Mohammad Rasoulof’s Good Bye brings Rossellini’s ’50s to today’s Tehran.
Slant talked with Winding Refn about Drive’s inception, its potent juxtaposition of light and dark, and his own burgeoning artistic relationship with Ryan Gosling.
Perhaps the most irreconcilable and disturbing of all filmmakers, he possesses a sort of quiet mastery that doesn’t seem to be in vogue these days.
The writer-director often embodies the inquisitive and restless blue-collar spirit of an artist like Sam Fuller.
Hellman has led a long cinematic career that could mirror the winding journeys of the characters in his films.
Luke Jenner and company turned in a remarkably assured performance, without any of the out-of-practice awkwardness one might’ve expected.
Its sensational content aside, Jaws doesn’t have a whole lot in common with what we now think of as summer blockbusters.
Bellflower instills a series of distrusting traumatic memories within a crumbling universe of mechanized poetry.
David Greenspan sets the tone for a delightful evening of theater magic by jumping onto a jewel-box stage set at the start of The Patsy.
It’s hard to imagine a better pairing of talent and material than Steve James, Alex Kotlowitz, and the street-savvy, impassioned antiviolence crusaders of The Interrupters.
Smoke Fairies conjure up a beguiling blend of folk and blues, rich with pastoral harmonies and swampy gutter guitars.
Sin! Booty-shaking! Sexy lingerie! Gambling! Home-wrecking dames! Gents who won’t take no for an answer!
In interviews, a tone of amused cynicism always quietly undercuts the delivery of a veteran industry creative who’s mastered his innate awkwardness to become a natural extemporizer.
The weather has gotten better in Karlovy Vary. Sort of.
With Project Nim, James Marsh has created a documentary that feels more like a biopic—and one that avoids the genre’s usual pitfalls.
It’s silly to complain about anything when spending time in the company of Pedro Almodóvar, Jerzy Skolimowski, and Wim Wenders.
A new play at the Classic Stage Company, Unnatural Acts, takes us back to period of intolerance that is hopefully unthinkable today.
Adjectives don’t stick easily to Marilyn Monroe, to any of the hundreds of Marilyn Monroes that exist.
Terrence Malick’s fifth film hadn’t crawled beyond Cannes, New York or Los Angeles before speculation intensified about the director’s future projects.