Film, the measure of all things

Mikey Madison is the latest in a line of actors dating back to Janet Gaynor to win Oscars depicting the sex trade. Why this is, and whether it lessens the stigma of such work, is an open question

A quarter of a century later, a romantic masterpiece resurfaces.

As Constantine turns twenty and arrives on 4K Blu-ray, director Francis Lawrence talks to Matt Goldberg about the film’s cult status, casting Tilda Swinton and Peter Stormare as an angel and a devil,…

For the 70th anniversary of The Wages of Fear’s US release, Robert Daniels buckles up and takes us on a journey through the white-knuckle thrills and queer-coded complexities that keep the film…

At the 2000 Academy Awards, the film won five Oscars, including best picture. Then came 9/11, a tanking economy and Kevin Spacey.

Our brave victim writer sits through the film site’s 0%ers to see what makes a bad movie. Will she emerge with her sanity intact – and are all these flops really so bad?

David Lynch's one-time adventure in Hollywood blockbuster filmmaking would forever change him – but not his heart.

Humans love to watch other humans, whether it’s movies by Frederick Wiseman or vertical videos on your phone. In a way, we’re all documentarians.

“The Irony of Fate” is a turn-of-the-year TV tradition that endures even in households that are now wary of Russian culture.

The singer-songwriter was never only a creature of music. Our critic watched every film with him that she could find to better understand the artist.

Like their deracinated characters, Kramer’s films exist in a state of flux, as if unfolding for the first time before your eyes.

Maryam Moghaddam and Behtash Sanaeeha, the makers of our No 2 film of the year, are currently under arrest. They talk about their trial, crossing red lines and why they’re ready to fight

A festival devoted to the film usually focuses on its comforting message. This year, it also underscored suicide prevention.

The director speaks his mind on rejected sequel ideas, Joaquin Phoenix’s plan to quit the original and working with a “fractious” Denzel Washington.

In his hagiography of American cinema, the Gospel according to St. Andrew, Sarris consigns Ida Lupino to outer limbo in a single sentence: “Ida Lupino’s directed films express much of the feeling if little of the skill which she has projected so admirably as an actress.” Not content with thus summarily dispatching Lupino’s lifetime opus, Sarris, “while on the subject,” brings up Lillian Gish’s one directorial attempt, and allows her conclusion to speak for itself: “Directing is no job for a lady.”

The work of Ukraine’s singular and prolific Kira Muratova – best known for 1989’s Asthenic Syndrome, but spanning the Soviet Thaw and two decades post-perestroika – remains critically neglected. Is it just too unflinching, asks Birgit Beumers.

The Latina actress turns 93 on Dec. 11, and the new Barbie Tribute Collection doll is being released ahead of her birthday to celebrate her life and career.

An exhibition of unseen film footage and camera tests from director Sergei Parajanov’s 1969 masterpiece Sayat Nova AKA The Colour of Pomegranates

Our last show highlighted the “lost” Orson Welles film It’s All True with filming taking place in 1942; and today we offer a bookend. Netflix has just released a version of another Welles project t…

New Criterion series highlights the work of the actor and director who delivered powerful, provocative performances

The director’s fantastical drama, starring a never-better Nicole Kidman, was booed and criticised in 2004 but its fans have grown over time

Recent releases like Terrifier 3 show that the business of scaring cinema audiences is in rude health. But such horror flicks are standing on the blood-soaked shoulders of giants

How, though, can we still talk of art, if the world itself is turning cinematic, becoming “just an act” directly controlled and immediately processed by a television that excludes any supplementary function?

Curiously, one of the most precise analyses of the films that Josef von Sternberg and Marlene Dietrich made together comes from a single page of an essay that reads more like a takedown.

Some context might help. Between 1988 and 1997 the Baltimore-based filmmaker Rob Tregenza directed three features that amassed a small, enviable group of admirers. If it's one thing to secure bookings at arthouses and galleries, it's quite another for your debut film to be anointed some groundbreaking moment in American movies by Jonathan Rosenbaum and

I was very gratified by the response to last year's interview with Rob Tregenza, a Zelig-like figure of modern cinema. Our very long, multi-Zoom conversation covered a life in film: four features, cherished experiences with Jean-Luc Godard, and hopes he hadn't reached the end. What I didn't quite find time for was, and I am

When history ends its tempting to sleep through all the chaos. But as The Asthenic Syndrome points out, neither sleep — or art — can change a single thing,