Is Susan Sontag's Duet for Cannibals a study in personal human behavior? Or is it an allegory of the seductions of fascism and power?
The Cameraman is Keaton's last great film, a jubilant, chaotic, and overactive silent romantic comedy that, intentional or not, doubles as a vision of the precarity of celebrity, independence, and artistry in the brutal Hollywood system.
As with Da 5 Bloods, Spike Lee's films are replete with experimental aesthetics that deconstruct the conventions of (white) Hollywood and re-frame and re-contextualize Black lives and Black history.
Directors Claude Sautet and Andrzej Zulawski turn the camera's gaze on the glorious Romy Schneider in these four drama, romance, and crime films available from Film Movement and Kino Lorber.
While philosopher Stanley Cavell endeavors to show that we must mean what we say in a very important sense, Godard's Bruno Forestier of Le Petit Soldat suggests that we simply cannot and must not mean what we say.
The many symbols throughout Stoker should be viewed as parts of a puzzle to be solved -- or not.
Russell Rouse's The Oscar is fabulously gaudy and kitschy, with overdone sets and costumes. The film practically hyperventilates in mood, story, and acting. You should see it.
Inspired by D.W. Griffith's Intolerance, Vsevolod Pudovkin would leave his chemistry studies for cinema. His films Mother, The End of St. Petersburg, and Storm over Asia are presented in The Bolshevik Trilogy.
Through a brazen performance, one to obliterate all performances that came before, Isabelle Adjani gives her Claudel a true body in which to house all her drive and desire in Bruno Nuytten's Camille Claudel.
David Lynch and Mark Frost's seminal Twin Peaks is rich with insight as to how both people and works of fiction can age gracefully.
Far from being escapist entertainment, Herz's The Cremator is a dissection of evil and how deluded one becomes in willing themselves to power.
Author Caleb Carr's The Alienist explores the 19th century psychiatric debate between free will and determinism. TNT's nearly identical adaptation of the novel, however, comes up with a completely different conclusion.
There are mythical moments in Almodóvar's All About My Mother. We are meant to register repetition in the story as something wonderfully strange, a connection across the chasm of impossibility.
Co-writer and star Alison Brie's unreliable narrator in Jeff Baena's Horse Girl makes for a compelling story about spiraling into mental illness.
The character's in Claude Chabrol's The Third Lover, Line of Demarcation, and The Champagne Murders are obsessively doubled and mirrored, reflecting and refracting their hunger for sex, love, money, and power.
The Serpent's Egg bares many of the Bergman's trademark features – the suffocating auras of despair and an underdog's sense of triumph over tragedy – but falls short of a more intelligent rendering of human drama.
The Fan, a gritty stalker-thriller, runs like clockwork, earning a steady momentum toward a stylishly spooky finish.
Chantal Akerman's 1968 short film Saute ma ville directly reflects our current state, serving as a meditative text on the art of staying home.
Writer-Director John Hancock and co-writer Lee Kalcheim take the gothic heroine from hundreds of penny dreadfuls and allow her to have her agency in the most unusual horror film, Let's Scare Jessica to Death.
Television show The Bold Type goes against the postfeminist notion that feminists have conquered the patriarchy, let alone their own differences.
It's the little things that make and break marriages and movies. In the case of Baumbach's Marriage Story, it's 25 little things.
Yasujiro Ozu's films can often be described as movies in which nothing happens -- nothing except the revelation of a world, its inhabitants, and a deep understanding of their contradictions.
Silent film A Cottage on Dartmoor brilliantly captures Anthony Asquith's fascination with the French impressionists' preoccupation with the still, singled out expression.
Something portentous comes out of quiet ordinary postwar English life: three schizoid noirs from directors Carol Reed, Roy and John Boulting, and Tharold Dickinson.
Nat Faxon and Jim Rash's comedy, Downhill, paints in broad strokes and peaks early, never matching the clever satire of its source material, Force Majeure.
Mark Jenkin's haunting Bait exhibits a ghostliness that complements the film's transient landscape of seasonal capital and short-term holiday lets.
The Loving Story's tale of this Supreme Court victory lays out both its legal and moral import, and then turns back to Richard and Mildred Loving in intimate, evocative images.
Although it's fair to state that Jerry Hopper is no Douglas Sirk, it's also true that their careers tangoed around each other, as seen in Hopper's Naked Alibi.
If we judge a film by keeping us on the edge of our seat, 1971's Someone Behind the Door, starring Anthony Perkins and Charles Bronson, is a success.