Films

The director talks with Justin Chang about his latest work on artistic genius. One dramatizes the decline of Lorenz Hart; the other details the triumphant début of Jean-Luc Godard.

The actress’s nuanced ambivalence.

The actor and singer discusses the origins of “The Rocky Horror Picture Show,” his relationship with David Bowie, and the joy of working with Miss Piggy.

The director, who stopped shooting movies years ago to focus on writing scores and his own records, shares some inspirational work from film history with the producer Adam Howard.

Between her new film, “If I Had Legs I’d Kick You,” and her Apple TV+ series “Platonic,” the actress has created a diptych of stressed-out moms.

This year’s Revivals section spotlights a hidden classic by a major modern filmmaker whose new movie is equally great.

This year’s edition teems with artistically ambitious movies that confront politics and mores in a wide variety of formats, from historical spectacles to intimate confessions.

The Belgian-born director’s 1994 coming-of-age masterwork, about a precocious teen-ager’s romantic audacity, can’t be reissued because of its needle drops.

Darren Aronofsky brings philosophical heft to his violent and frantic neo-noir, starring Austin Butler as a bartender trapped in a vortex of danger.

The first year of the magazine’s movie writing included proto-auteurist criticism, gossip, and a large dose of Charlie Chaplin.

The director and the actor discuss their latest collaboration, nineteen years after their previous film together. “Time flies,” Lee says. “I didn’t know it had been that long.”

The New Yorker critic explains which movies by the filmmaker he loves most—and why.

In her new film, the actor, writer, and director charts the nonlinear course of a young woman’s recovery from assault.

Decades after “28 Days Later,” the director Danny Boyle and the screenwriter Alex Garland return to—and advance—a frighteningly effective franchise.

A pair of recent films, Celine Song’s “Materialists” and Sean Baker’s “Anora,” turn the fairy tale on its head, with mixed results.

The festival served up its richest edition in years, with multiple standouts among the twenty-two films in contention for the Palme d’Or.

The New Yorker’s Tyler Foggatt on how the actor’s death-defying physical performances are essential to the success of the series.

The film succeeds in part by flipping the franchise’s standard script: the main characters aren’t embarrassed because they’re superheroes; they’re embarrassed because they’re not.

When we watch the actor’s stunts, we are watching someone defy death, over and over again. It’s impossible to look away.

The band Pavement, big in the nineties and bigger in memory, returns to help celebrate themselves wryly in Alex Ross Perry’s loving, metafictional rock-bio-pic parody.