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Video Essay. Dance the Dance of Death

Dancing isn't always an act of joy: The cinema is full of macabre reminders that often our bodies are not our own.

Stories of Sin and Survival: Henri-Georges Clouzot’s "Le corbeau" & "Quai des orfèvres"

While the second film of the French director was controversially made during WW2 with Germany money, his third is an appeasing diversion.

Dancing About Architecture: Luca Guadagnino and "Suspiria"

Eerie, confounding, and indulgent, the remake of the Dario Argento horror classic is a labyrinth with many doors, but exits.

The Doomed Devotion of Dance Cinema

Dance, tied to movies since the earliest days of cinema, has as much capacity to be anguished as it does joyous.

"Mother of All of Us": Ida Lupino and the Label of Proto-Feminism

The actress and pioneering Hollywood director is being celebrated—and more broadly recognized—during her centenary.

Killing the Mother: Luca Guadagnino Discusses "Suspiria"

The director discusses his controversial follow-up to "Call Me By Your Name," a new version of Dario Argento's classic horror film.

Man Out of His Element: Joseph Losey in the 1960s

Four films that the exiled American auteur made in Britain tell stories of lost men, tormented by issues of class, sex, and general malaise.

Rushes. Stan Lee, "Jupiter Ascending" as Ballet, Coppola Cannabis

This week’s essential news, articles, sounds, videos and more from the film world.

We Who Love the Cinemas: Thinking Back on MAMI

Thai director Phuttiphong Aroonpheng took home the Mumbai Film Festival's Golden Gateway Award for his feature debut, "Manta Ray."

Greetings from Free Lisboa

Doclisboa showcases alternative forms of expression and ways of talking to one another to break through borders.

Arabesque of Horror: The Legacy of Dario Argento's "Suspiria"

Why did this Italianate catalogue of carnage make such an everlasting impression?

Has Herr Dolan Really Run Amok?

Once widely acclaimed, the Québécois enfant terrible is now dividing critics and fans. Can one find a fresh point of entry to Dolan's films?