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Film

The New Yorker Interview

Kevin Costner Goes West Again

The actor and director, whose film “Horizon: An American Saga” has been in the making for decades, thinks of the Western as America’s Shakespeare.
The Front Row

“Shoeshine” Marked a New Era of Political Cinema

Vittorio De Sica’s 1946 neorealist drama helped put Italian movies at the center of world cinema.
The Front Row

“Flipside” Is a Treasure Trove of Music and Memory

Chris Wilcha’s documentary explores life, love, and art through his connection to a venerable record store.
The Front Row

In “Hometown Prison,” Richard Linklater Looks at Life on Both Sides of the Wall

The wide-ranging documentary about Huntsville, Texas, where the filmmaker grew up, evokes the city’s carceral system through interviews, archival footage, and his own reminiscences.
The New Yorker Interview

Lily Gladstone Is Holding the Door Open

The “Killers of the Flower Moon” star on how to curse in Blackfoot, being nominated for an Oscar, and the many Native actors she hopes will follow her.
The New Yorker Interview

Danielle Brooks Comes Full Circle

The actor, who played Sofia in the revival of “The Color Purple” musical on Broadway, reprises the role in a new film adaptation of the musical.
2023 in Review

The Year in Moviegoing

The year resounded with large, loud, and costly films—some of which were so poorly conceived they led me to wonder, why not get A.I. to write them?
Cultural Comment

How the Movie Professor Got Cancelled

The life of an academic lacks natural narrative momentum. Cue cancel culture.
The New Yorker Interview

Wim Wenders’s Cinema of Sincerity

The auteur behind “Anselm” and “Perfect Days” on his complicated relationship to his native Germany, a new project he’s been nursing for years, and the beauty of sharing mixtapes.
Cultural Comment

“May December” Probes the Dark Assumptions Behind a Tabloid Scandal

Todd Haynes’s new film on Netflix reveals how race and class shaped the real-world case that inspired it.
Persons of Interest

Isabelle Huppert Lives from Scene to Scene

Throughout her career, the celebrated French actor has worked with auteurs ranging from Jean-Luc Godard to Hong Sangsoo—and maintained a matter-of-fact approach to her craft.
Assessment

The Enduring Strangeness of Nicolas Cage

The actor’s performance in “Dream Scenario” seems crafted to remind viewers that he’s more than a meme.
2023 in Review

The Best Movies of 2023

The year’s wide variety of cinematic artistry reflects the many systems of production at work behind the scenes.
The Front Row

The Nineteen-Seventies of “The Holdovers” Is Conveniently Sanitized

There’s something appealing about the nostalgia of Alexander Payne’s film, but also something contrived.
The Front Row

Martin Scorsese on Making “Killers of the Flower Moon”

The director discusses shooting movies outside the studio system and finding the right way to film a story about a series of murders that took place when oil was found on Osage land.
The Front Row

Wes Anderson’s Roald Dahl Quartet Abounds in Audacious Artifice and Stinging Political Critique

Four new short films make clear how crucial the author’s work has been in the development of Anderson’s art.
Notes on Hollywood

Joy in Los Angeles as the Writers Reach a Tentative Deal

A strike captain reflects on the emotional highs and lows of five months on the picket lines.
The Front Row

“Early Short Films of the French New Wave” Is a Revelation

A two-disk set is an opportunity to appreciate underappreciated talents and the cultural policies that nurtured them.
Screening Room

Inner Turmoil Meets Atmospheric Turbulence in “AIRHOSTESS-737”

A flight attendant tries to conceal physical and emotional pain with a coat of bright-red lipstick, in Thanasis Neofotistos’s short film.
The Front Row

“Dumb Money” Is Clear About Money but Vague About Politics

Craig Gillespie’s film about the GameStop stock squeeze ignores the fiasco’s most fascinating element: motivation.