Film

A Long Shot of the Eternal City

Spectacle and Intimacy: Claudia Bitrán’s Remake of “Titanic”

The Limits of Autonomy in Emerald Fennell's "'Wuthering Heights'"

From My Institution to Yours*

The Cinderellas of Contemporary Cuba: Ana Alpizar’s "Norheimsund"

The Political Potential of the One-Liner

Editors’ Selects: November 2025

Jafar Panahi’s Cinema of Mutual Captivity

Review: "Back Home"/"Ecce Mole"

On Refusing the Refuge of the Past

Where Do We Go from Here?

Specters of Queerness in “Weapons” (2025)

Unwasted Moments: Re-evaluating “Tangerine” (2015)

The Siren Song of Cultural Diplomacy

“Becoming Ghost” with Cathy Linh Che

Beyond the Loop: “Strata” Simulates the Infinite

Review: Chronicles of the Absurd

The “Man with AI Movie Camera,” Dan Sickles

“I’m not queer, I’m disembodied”: Luca Guadagnino’s Adaptation of “Queer”

24 FPS: Isabel Sandoval, Incandescent Auteur

60 years ago, the Changed Ending of “My Fair Lady” Failed Eliza Doolittle

Omar Mismar Examines the Role of Botox in Post-War Lebanese Society

In 2014’s “The Interview,” Amnesia is a Privilege

Paul Schrader Doesn’t Believe in the Future

What’s Your Pleasure?

Lost in Time: Serbian Filmmaker Returns to Once-Forgotten Memories

Impressions of Loneliness in Asteroid City

BlackStar Celebrates Filmmaking from the Global Majority

The Conflict Between Endless Possibilities and Reality

Tomás Gómez Bustillo Captures the Magical and the Real