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.
By David Remnick
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.
By Richard Brody
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.
By Richard Brody
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.
By Richard Brody
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.
By Michael Schulman
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.
By Doreen St. Félix
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?
By Anthony Lane
Cultural Comment
How the Movie Professor Got Cancelled
The life of an academic lacks natural narrative momentum. Cue cancel culture.
By Lauren Michele Jackson
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.
By Nathan Taylor Pemberton
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.
By E. Tammy Kim
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.
By Rebecca Mead
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.
By Isaac Butler
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.
By Richard Brody
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.
By Richard Brody
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.
By Richard Brody
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.
By Richard Brody
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.
By Michael Schulman
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.
By Richard Brody
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.
By Richard Brody