Four generations of unhappiness populate the French auteur’s latest.
“We never thought, ‘We have to give them dignity.’ We thought we have to give them empathy.”
Agnès Varda’s aesthetic tides change, inviting us to switch positions of viewing, knowing, and feeling, for old narratives to wash away and new portals of sensation to open up.
What would life be like if nature had selected the male body to gestate and deliver offspring? What if women had evolved to be on the more pleasurable side of procreation while men endured its discomforts (if not labor pain, then at least an average of 2,400 days of bleeding through adolescence and adulthood)?
On the fiery filmmaker Andrzej Żuławski and his final work—Cosmos.
“As soon as you film someone it accelerates the deterioration of love.”
Haute couture, vérité documentary, and the ghost of Christian Dior.
Cinematic choreography and the art of showing, not telling.
The master filmmakers on blending the political and the personal in their new film.
The “grandmother of the French New Wave” discusses her ever-evolving artistic practice.
Selections by Chris Kraus, Alan Licht, and Kelly Copper.
American-born French director applies the paradox of the Baroque worldview to the composition of his films, and most recently, to La Sapienza. Nicholas Elliott probes Green’s interest in the tension between spirit and reason.
Modern love in slow motion and black-and-white.
Politics, sex, and fire in this cinematic house of cards.
The editor-in-chief of Cahiers du Cinéma on Spielberg, politics, and the vitality of cinema.
Grémillon’s film presents the truth, which is political but rarely correct, if we understand “correct” to be the just order of things.