Backstreet Abortion Onscreen: Stories of Solitary Struggle and Solidarity
Nymphomaniac II, Happening, and Portrait of a Lady on Fire depict backstreet abortion as either a solitary or collaborative experience among women.
Nymphomaniac II, Happening, and Portrait of a Lady on Fire depict backstreet abortion as either a solitary or collaborative experience among women.
The films in Film Noir: The Dark Side of Cinema XVII are united by one of Hollywood’s greatest actors, the almost casually brilliant and magnetic Edward G. Robinson.
From kitchen epics to road odysseys, these nine Chantal Akerman films chart the evolutions and revolutions of one of modern cinema’s most important auteurs.
Sabu and a tiger foreshadow Byron Haskin’s special effects and science fiction adventures of humans vs. the elements in Man-Eater of Kumaon.
There’s no war going on in these subversive Inspector Maigret whodunits from occupied France, but there’s a lot more murder and paranoia than in the era’s newspapers.
The bleakness in Walter Salles and Daniela Thomas’ 1995 crime thriller Foreign Land would mark the film as a paragon in the newly emerging Brazilian cinema.
Kubrick: An Odyssey by scholars Robert P. Kolker and Nathan Abrams is an ambitious, thorough, and important new take on Stanley Kubrick’s life and work.
Most of the comedies in Laurel & Hardy: Year One starred others, so this set shows the evolution of the dual film by film, getting better as they go along.
These 18 short films in Early Shorts of the French New Wave showcase a consistency of personal expression, handheld style, and filming in the street.
Corporate villainy! Creative tyranny! Dangerous foes and tough allies! MCU: The Reign of Marvel Studios blasts the superhero movie universe with the studio’s massive, messy history.
Hays Code era Lady for a Night links black American characters with upstart so-called “white trash” to expose corruption and “zombie” hypocrisy from the so-called “quality class”.
In monocle and leather boots, waving a whip, and fetishizing his character into a camp masterpiece, Erich von Stroheim never winks in Foolish Wives, but you see the glint in his eye.