Part One follows a small cohort of oppositional journalists in Putin’s Russia during the run-up to the military invasion of ...

Video life: many of the best films at this year’s festival—including Blue Heron, God Will Not Help, and Dry Leaf—explored the ...

A man of a certain age is dying. The problem is his heart. Not only does it no longer pump as it should, but it has proven itself a failure in matters of love. Because the man still hungers for love, ...

I don’t believe in the idea of guilty pleasures because I don’t think you should feel guilty about liking anything. (My boyfriend on the other hand says he definitely feels guilty about loving B.A.P.S ...

Gone with the Wind Two brothel madams (or as close as Hollywood dared get to them), one a lurid gash of pornographic pink throbbing against William Cameron Menzies’ mourning-black backdrop of charred ...

(Darren Aronofsky, U.S., 2010)Early in Black Swan, artistic director Thomas Leroy concludes his personal synopsis of Swan Lake with the declaration that only in death does its troubled heroine find ...

This past fall, Film Comment conducted an international poll of critics, programmers, academics, filmmakers, and others to identify the top films and filmmakers of the decade. In addition, we asked ...

1. Manoel de Oliveira (103) Gebo and the Shadow, 2012 2. Leni Riefenstahl (101) Underwater Impressions, 2003 3. Kaneto Shindo (98) Postcard, 2010 4. Mario Monicelli (91) The Roses of the Desert, 2006 ...

By Grady Hendrix in the March-April 2020 Issue P erpetually out of step, Shinya Tsukamoto goes where his gut leads him, handcrafting freaked-out sci-fi nightmares from 8mm, 16mm, 35mm, digital video, ...

(Bruce McDonald, Canada, 2008)Early on a frigid Valentine’s morning in some desolate village within the Ontario hinterland, talk radio DJ Grant Mazzy (Stephen McHattie) is assailed by an unidentified ...

Outer LimitsMysterious and soulful, Virgil Vernier’s debut fiction feature has its eyes on the night skies and its feet firmly planted on concrete. Somewhere in a Paris banlieue backcountry of ...

As John Ford said to a teenage Spielberg: “Where’s the horizon?” In Philip Kaufman’s 1974 film it rises almost to the top of the frame, an unforgiving expanse governed by harsh winds and superstition.