In Bertrand Bonello’s THE BEAST—an endlessly fascinating three-part puzzle—we first encounter Gabrielle (Léa Seydoux) and Louis (George MacKay) near the end of the Belle Époque, strolling through a Paris vernissage, playing a parlor game of “do you remember?”

Los Angeles cinephiles are in for the rarest of treats as the Academy Museum of Motion Pictures presents the North American 4K restoration premiere of Daniel Schmid’s LA PALOMA (1974), the opera director’s “intoxicating, maddening revelation” starring Ingrid Caven, Peter Kern,

Last year’s premiere performances of STAR CHOIR—Gaines and Segade’s long-evolving opera project, at an elevation of 5,000 feet inside Mt. Wilson’s largest observatory—was an unforgettable experience for the lucky few who gained admission. On January 24, back in town in

“I’ve always said that writers know less about the real world than just about anyone else.” That’s writer-director Andrew Haigh, speaking through one of the characters in his latest feature ALL OF US STRANGERS, a mood and memory piece of breathtaking

“The world—this world—is obsessed with everything about you.” So says an interviewer to Leonard Bernstein in his prime and so it was in mid-to-late-twentieth-century American culture, when novelists and essayists and Broadway composers and even great conductors could hold the center

Monique Lange—born into a family of intellectuals that included Henri Bergson—was a novelist and screenwriter of such films as “Les violons du bal” and Joseph Losey’s “The Trout.” Her daughter Carole Achache was a writer and photographer who, upon her

The films of Alice Rohrwacher bring you outside and keep you there, contemplating the land and its hapless interlopers that constitute the tragicomedies around which she’s made her name. The rural beauty of Italy—its histories and its ongoing despoilment—again takes

Swooning under the possibilities inherent in poetic thought transformed by performance as a means of projection into other worlds, other lives—“literature-sickness,” in the words of one character—the voices in the film ORLANDO: MY POLITICAL BIOGRAPHY release the Woolf classic from

Taking place in two time periods—present day Greece and two summers prior—THE SUMMER WITH CARMEN features director Zacharias Mavroeidis’ signature mix of melodrama, sarcasm, and comedy. Two good friends (played by Yorgos Tsiantoulas and Andreas Lampropoulos) on a queer beach in

What do we see when we look into Franz Rogowski’s eyes, when we watch him watching? A desired presence, a short fuse of insolence, a shortcut to transgression—the double-edged trap of audience expectations are high whenever he appears on the