@tnyfrontrow.bsky.social
Late to note that Jafar Panahi's great Taxi, far-reaching and far-seeing from the confines of its privacy amid public life, will be at @ifccenter.bsky.social at 5:10pm followed by Crimson Gold at 7:15pm:
www.newyorker.com/culture/rich...
www.newyorker.com/culture/the-...
www.newyorker.com/culture/rich...
www.newyorker.com/culture/the-...
Jafar Panahi’s Remarkable “Taxi”
In his new film, the Iranian director again turns filmmaking into a furious act of political defiance.
www.newyorker.com
January 6, 2026 at 9:38 PM
Late to note that Jafar Panahi's great Taxi, far-reaching and far-seeing from the confines of its privacy amid public life, will be at @ifccenter.bsky.social at 5:10pm followed by Crimson Gold at 7:15pm:
www.newyorker.com/culture/rich...
www.newyorker.com/culture/the-...
www.newyorker.com/culture/rich...
www.newyorker.com/culture/the-...
They're called oners because they're onerous.
January 5, 2026 at 7:21 AM
They're called oners because they're onerous.
So the most secretly influential director in current film and TV is Miklós Jancsó.
January 5, 2026 at 5:41 AM
So the most secretly influential director in current film and TV is Miklós Jancsó.
JLG alert: 86 Printemps, Jean-Luc Godard (Jean-Baptiste Thoret, 2017), a feature-length interview-film (albeit without subtitles), filled with reflections of intellectual and sentimental value; easy to find, highly recommended.
January 5, 2026 at 3:06 AM
JLG alert: 86 Printemps, Jean-Luc Godard (Jean-Baptiste Thoret, 2017), a feature-length interview-film (albeit without subtitles), filled with reflections of intellectual and sentimental value; easy to find, highly recommended.
Reposted
1/4/55: Agnes Varda's landmark La Pointe Courte
Our Varda Appreciation, via Cineaste:
midcenturycinema.org/wp-content/u...
More:
@redroomrantings.bsky.social: vaguevisages.com/2016/05/30/v...
G Vincendeau: www.criterion.com/current/post...
@tnyfrontrow.bsky.social: www.newyorker.com/culture/phot...
Our Varda Appreciation, via Cineaste:
midcenturycinema.org/wp-content/u...
More:
@redroomrantings.bsky.social: vaguevisages.com/2016/05/30/v...
G Vincendeau: www.criterion.com/current/post...
@tnyfrontrow.bsky.social: www.newyorker.com/culture/phot...
Agnès Varda’s Storyboard of French Village Life
A new exhibition showcases the filmmaker’s startlingly original form of incidental portraiture.
www.newyorker.com
January 4, 2026 at 3:52 PM
1/4/55: Agnes Varda's landmark La Pointe Courte
Our Varda Appreciation, via Cineaste:
midcenturycinema.org/wp-content/u...
More:
@redroomrantings.bsky.social: vaguevisages.com/2016/05/30/v...
G Vincendeau: www.criterion.com/current/post...
@tnyfrontrow.bsky.social: www.newyorker.com/culture/phot...
Our Varda Appreciation, via Cineaste:
midcenturycinema.org/wp-content/u...
More:
@redroomrantings.bsky.social: vaguevisages.com/2016/05/30/v...
G Vincendeau: www.criterion.com/current/post...
@tnyfrontrow.bsky.social: www.newyorker.com/culture/phot...
While talking enthusiastically with a friend (you know who you are) about Tessa Thompson's performance in Hedda, recalled another terrific performance of hers in a very good movie that's rarely mentioned, Sylvie's Love (Eugene Ashe hasn't made another movie since):
www.newyorker.com/culture/the-...
www.newyorker.com/culture/the-...
Review: “Sylvie’s Love” Revives the Art of the Classic Hollywood Romance
The jazz-centric period piece brings high style and dramatic focus to the challenges of the musical life.
www.newyorker.com
January 4, 2026 at 4:53 PM
While talking enthusiastically with a friend (you know who you are) about Tessa Thompson's performance in Hedda, recalled another terrific performance of hers in a very good movie that's rarely mentioned, Sylvie's Love (Eugene Ashe hasn't made another movie since):
www.newyorker.com/culture/the-...
www.newyorker.com/culture/the-...
This never gets old; I always delight in this tribute, on West 57th between 8th and 9th, however briefly and in difficult circumstances he lived here; have been listening to his music a lot these days (esp. 2nd piano concerto):
January 3, 2026 at 7:45 PM
This never gets old; I always delight in this tribute, on West 57th between 8th and 9th, however briefly and in difficult circumstances he lived here; have been listening to his music a lot these days (esp. 2nd piano concerto):
Ways of talking, ways of thinking, ways of playing, ways of seeing, ways of being: Now, Hear Me Good, the new short film by Dwayne LeBlanc, on @criterionchannl.bsky.social and not to miss (along with his first, Civic, which is also there); vast amounts of life and style in every moment.
January 3, 2026 at 4:27 PM
Ways of talking, ways of thinking, ways of playing, ways of seeing, ways of being: Now, Hear Me Good, the new short film by Dwayne LeBlanc, on @criterionchannl.bsky.social and not to miss (along with his first, Civic, which is also there); vast amounts of life and style in every moment.
Essential cinema: An Unmarried Woman, Paul Mazursky's free and lyrical masterwork of changing times and changing one's life, at @movingimagenyc.bsky.social at 2; a capsule review and discussion in a memorial:
www.newyorker.com/goings-on-ab...
www.newyorker.com/culture/rich...
www.newyorker.com/goings-on-ab...
www.newyorker.com/culture/rich...
An Unmarried Woman
www.newyorker.com
January 3, 2026 at 3:14 PM
Essential cinema: An Unmarried Woman, Paul Mazursky's free and lyrical masterwork of changing times and changing one's life, at @movingimagenyc.bsky.social at 2; a capsule review and discussion in a memorial:
www.newyorker.com/goings-on-ab...
www.newyorker.com/culture/rich...
www.newyorker.com/goings-on-ab...
www.newyorker.com/culture/rich...
In re: The Knick, mentioned enthusiastically in the other place: just the other day, we were talking at home about it and a terrific nonfiction book that covers similar territory:
www.newyorker.com/culture/rich...
www.newyorker.com/culture/rich...
www.newyorker.com/culture/rich...
www.newyorker.com/culture/rich...
One Good Thing about “The Knick”
Under the guise of its melodrama, the series is something of a scientific archeology of modern life.
www.newyorker.com
January 3, 2026 at 2:03 AM
In re: The Knick, mentioned enthusiastically in the other place: just the other day, we were talking at home about it and a terrific nonfiction book that covers similar territory:
www.newyorker.com/culture/rich...
www.newyorker.com/culture/rich...
www.newyorker.com/culture/rich...
www.newyorker.com/culture/rich...
Word from way back on New York, New York, Martin Scorsese's view of the city's tense past by way of its still-raging romantic furies; at @movingimagenyc.bsky.social (the great new outpost of City Hall) at 6:15pm, in 35mm.:
www.newyorker.com/magazine/200...
www.newyorker.com/magazine/200...
Top of the Heap
Martin Scorsese’s “New York, New York”
www.newyorker.com
January 2, 2026 at 5:50 PM
Word from way back on New York, New York, Martin Scorsese's view of the city's tense past by way of its still-raging romantic furies; at @movingimagenyc.bsky.social (the great new outpost of City Hall) at 6:15pm, in 35mm.:
www.newyorker.com/magazine/200...
www.newyorker.com/magazine/200...
Among the best is What About Me, directed by and starring Rachel Amodeo, co-starring Richard Edson; a highlight of the year was doing a Q. & A. with them and the cinematographer Mark Brady at The Downtown Festival.
Happy 72nd Birthday to great character actor, musician, writer, and photographer Richard Edson, underrated but famous for films such as STRANGER THAN PARADISE, FERRIES BUELLER'S DAY OUT, PLATOON, GOOD MORNING, VIETNAM; EIGHT MEN OUT, DO THE RIGHT THING, STRANGE DAYS, MOMMA'S MAN, among others.
January 2, 2026 at 6:05 AM
Among the best is What About Me, directed by and starring Rachel Amodeo, co-starring Richard Edson; a highlight of the year was doing a Q. & A. with them and the cinematographer Mark Brady at The Downtown Festival.
The talk at dinner turned to Céline Dion, which brought to mind one of my favorite recent good bad movies, Aline, a by-the-numbers melodrama made weird by its performances, especially its director Valérie Lemercier playing the title character—at all ages:
www.newyorker.com/goings-on-ab...
www.newyorker.com/goings-on-ab...
Aline
www.newyorker.com
January 2, 2026 at 2:09 AM
The talk at dinner turned to Céline Dion, which brought to mind one of my favorite recent good bad movies, Aline, a by-the-numbers melodrama made weird by its performances, especially its director Valérie Lemercier playing the title character—at all ages:
www.newyorker.com/goings-on-ab...
www.newyorker.com/goings-on-ab...
Janus-faced popular populism of the Depression, on oddball comedic display in Frank Capra's You Can't Take It With You, on @tcmtv.bsky.social at 12:30am (ET):
www.newyorker.com/goings-on-ab...
www.newyorker.com/goings-on-ab...
Jean Arthur on the Criterion Channel
www.newyorker.com
January 1, 2026 at 8:42 PM
Janus-faced popular populism of the Depression, on oddball comedic display in Frank Capra's You Can't Take It With You, on @tcmtv.bsky.social at 12:30am (ET):
www.newyorker.com/goings-on-ab...
www.newyorker.com/goings-on-ab...
Seems like Only Yesterday that I wondered why John M. Stahl's great 1933 melodrama is so rare and unreissued:
New Year’s Eve rabbit hole: first, my favorite auld-lang-syne movie, John M. Stahl’s Only Yesterday, is still awaiting a proper home-video and streaming release; then,… www.newyorker.com/magazine/201...
The Spirit of the Women’s-Rights Movement in a 1933 Film
“Only Yesterday” captures the shift in gender roles at a pivotal moment in history.
www.newyorker.com
December 31, 2025 at 9:57 PM
Seems like Only Yesterday that I wondered why John M. Stahl's great 1933 melodrama is so rare and unreissued:
Hearing that, when the ball drops, it will break open and spill a gross of orange Marty Supremes into Times Square.
December 31, 2025 at 6:25 PM
Hearing that, when the ball drops, it will break open and spill a gross of orange Marty Supremes into Times Square.
Listening to Don Giovanni, remembered that I took this picture a few weeks ago:
December 30, 2025 at 11:28 PM
Listening to Don Giovanni, remembered that I took this picture a few weeks ago:
More in the "people change" file: "Her commitment was again displayed when she hid the theatre notable Antoine Bourseiller. A sympathizer of the [Algerian independence party] FLN, he'd got a call advising him to get out of town because the Minister of the Interior Roger Frey and the police prefect
December 29, 2025 at 7:24 PM
More in the "people change" file: "Her commitment was again displayed when she hid the theatre notable Antoine Bourseiller. A sympathizer of the [Algerian independence party] FLN, he'd got a call advising him to get out of town because the Minister of the Interior Roger Frey and the police prefect
Word from a while back on Lubitsch's Trouble in Paradise and its classical modernity (tonight at @filmforumnyc.bsky.social at 6):
www.newyorker.com/culture/rich...
www.newyorker.com/culture/rich...
The Radical Power of Classic Comedies
www.newyorker.com
December 29, 2025 at 5:50 PM
Word from a while back on Lubitsch's Trouble in Paradise and its classical modernity (tonight at @filmforumnyc.bsky.social at 6):
www.newyorker.com/culture/rich...
www.newyorker.com/culture/rich...
In memory of Brigitte Bardot, who, in 1961, received an extortion letter from the French far-right terrorist group OAS (against Algerian independence); she gave the letter to L'Express with her response for publication, a refusal: "because I don't want to live in a Nazi country."
December 28, 2025 at 5:40 PM
In memory of Brigitte Bardot, who, in 1961, received an extortion letter from the French far-right terrorist group OAS (against Algerian independence); she gave the letter to L'Express with her response for publication, a refusal: "because I don't want to live in a Nazi country."
The honey story in Marty Supreme is Marty's "this is who we are" story: it's how he is all the time—desperation, rage, ruse, daring, shamelessness—to which he adds some implicit hyperbole all his own: that he, too, is fighting to survive and is his near-and-dears' only way out.
December 27, 2025 at 9:40 PM
The honey story in Marty Supreme is Marty's "this is who we are" story: it's how he is all the time—desperation, rage, ruse, daring, shamelessness—to which he adds some implicit hyperbole all his own: that he, too, is fighting to survive and is his near-and-dears' only way out.
I'd forgotten writing about The Meyerowitz Stories (New and Selected); strange—I liked it a lot at the time but have felt no desire to rewatch; maybe, for all the freer filmmaking, the writing still sits like a latke; may head to Netflix to find out:
www.newyorker.com/culture/rich...
www.newyorker.com/culture/rich...
The Familial Furies of Noah Baumbach’s “The Meyerowitz Stories”
Baumbach’s latest film can be thought of as a remake of, a sequel to, and a drastic improvement upon “The Squid and the Whale.”
www.newyorker.com
December 27, 2025 at 6:19 PM
I'd forgotten writing about The Meyerowitz Stories (New and Selected); strange—I liked it a lot at the time but have felt no desire to rewatch; maybe, for all the freer filmmaking, the writing still sits like a latke; may head to Netflix to find out:
www.newyorker.com/culture/rich...
www.newyorker.com/culture/rich...
Reposted
12/25/77: John Cassavetes' Opening Night
w/Gena Rowlands, Ben Gazzara, Blondell, Stewart
Brilliant, Essential
More:
@redroomrantings.bsky.social: vaguevisages.com/2016/05/12/o...
@thegaychingy.bsky.social: melmagazine.com/en-us/story/...
@tnyfrontrow.bsky.social: www.newyorker.com/video/watch/...
w/Gena Rowlands, Ben Gazzara, Blondell, Stewart
Brilliant, Essential
More:
@redroomrantings.bsky.social: vaguevisages.com/2016/05/12/o...
@thegaychingy.bsky.social: melmagazine.com/en-us/story/...
@tnyfrontrow.bsky.social: www.newyorker.com/video/watch/...
December 25, 2025 at 7:50 PM
12/25/77: John Cassavetes' Opening Night
w/Gena Rowlands, Ben Gazzara, Blondell, Stewart
Brilliant, Essential
More:
@redroomrantings.bsky.social: vaguevisages.com/2016/05/12/o...
@thegaychingy.bsky.social: melmagazine.com/en-us/story/...
@tnyfrontrow.bsky.social: www.newyorker.com/video/watch/...
w/Gena Rowlands, Ben Gazzara, Blondell, Stewart
Brilliant, Essential
More:
@redroomrantings.bsky.social: vaguevisages.com/2016/05/12/o...
@thegaychingy.bsky.social: melmagazine.com/en-us/story/...
@tnyfrontrow.bsky.social: www.newyorker.com/video/watch/...
A pleasure and an honor to chat with my friend and colleague @justincchang.bsky.social about the year in movies: link.newyorker.com/view/5bea068...
The New Yorker Daily Newsletter
link.newyorker.com
December 25, 2025 at 3:06 PM
A pleasure and an honor to chat with my friend and colleague @justincchang.bsky.social about the year in movies: link.newyorker.com/view/5bea068...
Reposted
Jim Jarmusch’s new film takes place in three parts. In each episode, parents are long-standing mysteries to their children—but only in the first two are the mysteries toxic, @tnyfrontrow.bsky.social writes.
newyorkermag.visitlink.me/is1FXo
newyorkermag.visitlink.me/is1FXo
“Father Mother Sister Brother” Explores the Mysteries of Family Life
Jim Jarmusch’s three-part drama, set in New Jersey, Dublin, and Paris, casts such notables as Adam Driver and Cate Blanchett in wry, ironic probes of grown children’s relationships with their parents.
newyorkermag.visitlink.me
December 23, 2025 at 8:30 PM
Jim Jarmusch’s new film takes place in three parts. In each episode, parents are long-standing mysteries to their children—but only in the first two are the mysteries toxic, @tnyfrontrow.bsky.social writes.
newyorkermag.visitlink.me/is1FXo
newyorkermag.visitlink.me/is1FXo