Beyond the frame: films by Anocha Suwichakornpong, Ross McElwee, and Bani Khoshnoudi open lines of flight into the shared ...
Gone fishing: the documentarian talks about his first feature in over a decade, an emotionally devastating and intricately ...
Four hundred and eighty-two parodies later, the MAD movie send-up has become an institution. Filmmakers like J.J. Abrams and Steven Spielberg buy the original cover art featuring parodies of their ...
There’s nobody on this set who’s got a bigger dick than he does. Whatever he wants, he gets. —a Milagro production assistant. Even in this remote location, Robert Redford can’t escape the glare of the ...
ROGER CORMAN: I started originally as a messenger at Fox. I came out of Stanford as an engineer, worked four days and quit. The only way I could get into the business was a messenger. I worked ...
Michael Koresky is the senior curator of film at the Museum of the Moving Image, and a member of the National Society of Film Critics. He frequently writes for the Criterion Collection, and hosts and ...
Time is a formidable enemy in Cristian Mungiu’s 4 Months, 3 Weeks and 2 Days, and thus it’s appropriate that its scenes, shot in handheld cinemascope, are built around prolonged, pitilessly unblinking ...
The story of Third World Cinema Corporation—a fledging production house founded by Black and Latino artists in 1971—is at once inspirational and heartbreaking. An earnest “for us, by us” effort to ...
Land of the Pharaohs (1955, Howard Hawks). When I first saw it, as a kid, Land of the Pharaohs became my favorite film. I’d always been addicted to historical epics, but this one was different: it ...
“I don’t know if you’re a detective or a pervert,” remarks Sandy (Laura Derm) to Jeffrey (Kyle MacLachlan) at a crucial juncture in the harrowing new David Lynch picture, Blue Velvet. We never are ...
What is black and white, in color, and somewhere over the rainbow? That has an angel orchestra, a pork chop orchard, and is just like L.A., New York, Chicago, or Miami? The answer is heaven. And ...
SKOLIMOWSKI: It is my most sensory feeling that I try to represent in my films. It is what I can touch. Concrete. This is what I think and this is what I take under consideration. The moral criteria ...
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