The first half of Ingmar Bergman's script seems to call for an almost comically tight-lipped, stone-faced blankness; the second half calls for at least four different coloratura breakdowns. Ullmann “fought like a lion” in the role, and, just hearing about it, you might imagine her Oscar nomination was a reward for a kind of athletic stamina, a heroic stab at an impossible target. Read More
For someone raised on a steady diet of classical Hollywood musicals, I Love Melvin is an enigmatic object. Read More
In September, several things happened in quick succession: I got a new job. I got new glasses. I got into a workshop. I called my mom at seven in the morning and said, “I think I have to go to Belgium in a few weeks,” and she said, “Yeah, that makes sense.” Read More
Fran Hoepfner on The Irishman, Uncut Gems, Marriage Story, Portrait of a Lady on Fire, Parasite, First Cow, and other highlights (and not so highlights) from the New York Film Festival. Read More
"I think all of my characters, even Kate in 45 Years, are the same. They are isolated people—and they are outsiders." Read More
An interview with Alissa Wilkinson Read More
After its first season, The Americans stopped being a sexy show, and started being a seductive one. Read More
For all their quirks, spaghetti westerns are uniquely relevant right now, as we watch the cruel and brutal American story crumble in real time, as we try to manifest a better destiny. Three movies in particular, directed by Italy’s holy trinity of Sergios: Leone, Corbucci, and Sollima. Read More
How Ganja & Hess (1973) and Soleil O (1967) reflect complexities of Black american and African immigrant experiences. Read More
An interview with Matt Zoller Seitz Read More
"People are really complicated–even if they make mistakes, there's always some redeeming quality there. You try to inject something familiar into them." Read More
Night Shift touches the universal, and the divine, in its own small way, and all without ever losing sight of the urinal over its shoulder. Read More