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Feature

Of Women and War: Close-Up on Kantemir Balagov’s “Beanpole”

The Russian director’s second feature is an ambitious period drama of contentious female relationship set after the end of World War Two.
Column

Moviegoing Memories: Ali Jaberansari

The director of “Tehran: City of Love” tells us about his favorite cinema and the one film he would most like to see on the big screen.
Column

The Forgotten: The Talented Mssrs. Donner, Raphael & Bates

A vicious but charming social climber murders his way to the top in pre-swinging London.
Feature

Market Individual: J. Hoberman’s “Make My Day: Movie Culture in the Age of Reagan”

The latest book by the New York film critic looks at the shift in film and popular culture in the 1980s of Ronald Reagan.
News

Rushes: Tscherkassky’s MUBI, Bong Joon-ho, Cinema Behind Bars

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

Reimagining an Elephant: Discussing “Cemetery” with Carlos Casas

The Spanish artist talks about his shapeshifting documentary about the stories, traditions, and myths surrounding Sri Lankan elephants.
Column

A Straub-Huillet Companion: “Communists”

On the first solo Straub film in this series, a clear-eyed tribute to Danièle Huillet eight years after her death.
Feature

A Crime of Passion: Gus Van Sant’s “Psycho”

An undeniably foolish endeavor, Gus Van Sant’s remake nevertheless prompts bold questions about the audience’s relationship to “Psycho.”
Feature

The Split Personality of a Classic: Close-Up on Alfred Hitchcock’s “Psycho”

The Master of Suspense creates a formal challenge with murderous results.
Feature

Tales of an Outsider: The Films of Giulio Questi

A maverick of Italian cinema, Questi’s best-known films are the indescribable “Django Kill… If You Live, Shoot!” and “Death Laid an Egg.”
Review

Review: The First Desire—Pedro Almodóvar’s “Pain and Glory”

Pedro Almodóvar’s latest film may well be his most nostalgic, and achingly personal to date.
Review

Review: The Pandering Emptiness of “Joker”

Todd Phillips and Joaquin Phoenix bring pretentious pastiche and political pandering to their attempt at an adult comic book movie.