In Aaron Sorkin’s overwritten sequel to “The Social Network,” inspired performances by Mikey Madison and Jeremy Allen White can’t bring the main characters to life, Richard Brody writes.

This entertaining and provocative work, made in 1981 by the now 85-year-old director, fits into his oeuvre as a complement to his best known movie among American art-film fans, 1974's Céline and Julie...

Jean-Marie Straub and Danièle Huillet’s film, from 1999, is a great multimedia work of pure cinema—one that is, in its own way, operatic.

Two later-period Otto Preminger efforts come to disc: the Expressionistic thriller “Bunny Lake Is Missing” (1965) and the psychedelic comedy “Skidoo” (1968).

During week two of the New York Film Festival, Richard Brody saw what he considers to be one of the best films of both the event and the year.

A retrospective of George Cukor’s films, at Lincoln Center.

The melodramatic power of Dakota Johnson and Anne Hathaway is squandered in “Verity,” a romantic tale that’s ludicrously muddled by suspicions of monstrous misdeeds.

Renoir’s second sound film, from 1931, is a bitterly ironic drama about a love triangle between a prostitute, her pimp, and a naïve office clerk.

Opera singers rarely make successful transitions to movie acting, but Maria Callas did—in Pier Paolo Pasolini’s “Medea,” from 1969.

With this 1952 film, Charlie Chaplin was both telling a counterfactual version of his life story and attempting a comeback.

The prime offerings at this year’s New York Film Festival include the début of an overlooked great director and startling new work by acclaimed filmmakers.

Perhaps no filmmaker has filmed sex more seriously and introspectively than Catherine Breillat.

In “Romy: Anatomy of a Face,” the actress confesses to the camera, delivering a performance unlike any that she gave in dramas.

In this documentary, Israeli military and intelligence sources reveal systems, policies, and practices that have resulted in high numbers of civilian deaths and widespread destruction.

L’acteur trop rare reprend sur scène deux textes de la cinéaste disparue il y a dix ans, dont «le Déménagement». Et nous raconte leur lien unique.

Disdained by critics at the time of its release, the 1985 film, starring Ryan O’Neal as a compulsive gambler, possesses a grim, ironic power.

In chronicling the making of “Girls,” Lena Dunham’s memoir reveals the cost of moving from the freedom of independent filmmaking to the corporate demands of television.

“The Sorrow and the Pity” has lessons for how authoritarianism takes root—and how to fight against it.

What to do this week, in New York City and beyond.

Film historian Kim Morgan writes about Paul Mazursky's Bob & Carol & Ted & Alice.

Richard Brody discusses the sumptuous 2012 film by Terence Nance, the young filmmaker’s first (and, to date, only) feature.

John Wilson’s first feature, a whimsical personal documentary, reveals the social essence, and the political stakes, of concrete: the most-often-used substance on Earth besides water.

Francis Ford Coppola’s 1982 commercial flop is an intensely personal drama about the high personal price of grand-scale Hollywood filmmaking.

A series at the Film Forum showcases the actresses who embodied the new freedoms of the nineteen-twenties.

Jafar Panahi’s 2003 drama blends documentary and fiction to reveal hidden traumas of Iranian society.

One of the most substantial restorations of the year is for Maurice Pialat's seven-part epic La maison des bois (The House in the Woods), which follows a family living in the French countryside post-W...