@tnyfrontrow.bsky.social
Monte Hellman's magnificent, still shocking Cockfighter (1974), restored and in 35mm. at @moma.bsky.social To Save and Project series, 6:30pm; a capsule review from a while back plus excerpts from a terrific 2011 interview with him:
www.newyorker.com/goings-on-ab...
www.newyorker.com/culture/rich...
www.newyorker.com/goings-on-ab...
www.newyorker.com/culture/rich...
Cockfighter
www.newyorker.com
January 17, 2026 at 8:17 PM
Monte Hellman's magnificent, still shocking Cockfighter (1974), restored and in 35mm. at @moma.bsky.social To Save and Project series, 6:30pm; a capsule review from a while back plus excerpts from a terrific 2011 interview with him:
www.newyorker.com/goings-on-ab...
www.newyorker.com/culture/rich...
www.newyorker.com/goings-on-ab...
www.newyorker.com/culture/rich...
Reposted
28 YEARS LATER: BONEHENGE, reviewed. www.newyorker.com/culture/the-...
Nia DaCosta Injects New Blood Into “28 Years Later: The Bone Temple”
In this gory sequel to Danny Boyle’s “28 Years Later,” an undead threat that has ravaged Britain turns out to be no match for the reality of living human evil.
www.newyorker.com
January 16, 2026 at 11:54 PM
28 YEARS LATER: BONEHENGE, reviewed. www.newyorker.com/culture/the-...
What great directors do, as Raoul Walsh did with Going Hollywood (on @tcmtv.bsky.social at noon), is to take seemingly ordinary subjects and bring out what's extraordinary in them—with images, with performances, with tone and mood: www.newyorker.com/goings-on-ab...
Going Hollywood
www.newyorker.com
January 17, 2026 at 4:39 PM
What great directors do, as Raoul Walsh did with Going Hollywood (on @tcmtv.bsky.social at noon), is to take seemingly ordinary subjects and bring out what's extraordinary in them—with images, with performances, with tone and mood: www.newyorker.com/goings-on-ab...
It's Stroheim time: a look at his entire and dreadfully short directorial career in the light of the new restoration of Queen Kelly from @milestonefilms.bsky.social that's playing at @filmforumnyc.bsky.social:
www.newyorker.com/culture/the-...
www.newyorker.com/culture/the-...
Erich von Stroheim’s Spectacular Art Is Back
A new restoration of Stroheim’s unfinished 1929 drama “Queen Kelly” spotlights his reckless directorial career, which, though brief, is one of the greatest of all.
www.newyorker.com
January 17, 2026 at 3:07 AM
It's Stroheim time: a look at his entire and dreadfully short directorial career in the light of the new restoration of Queen Kelly from @milestonefilms.bsky.social that's playing at @filmforumnyc.bsky.social:
www.newyorker.com/culture/the-...
www.newyorker.com/culture/the-...
Greatly enjoyed my colleague @xwaldie.bsky.social's anti-anti-fawning piece; turns out fawning has a great artistic tradition, on stage and screen (as here: two pieces, and a better translation of the full, hair-raising Nietzsche passage:
www.newyorker.com/culture/rich...
www.newyorker.com/culture/rich...
January 17, 2026 at 2:54 AM
Greatly enjoyed my colleague @xwaldie.bsky.social's anti-anti-fawning piece; turns out fawning has a great artistic tradition, on stage and screen (as here: two pieces, and a better translation of the full, hair-raising Nietzsche passage:
www.newyorker.com/culture/rich...
www.newyorker.com/culture/rich...
La Clef, in Paris, reopened, self-managed and volunteer-run, with Talking About Trees; Friday, will show Sophie Fillières' This Life of Mine (Ma vie ma gueule)+ Q.&A. w/Agathe & Adam Bonitzer (her children, who oversaw its completion); I'm seething that it's still unreleased here:...
January 15, 2026 at 4:17 AM
La Clef, in Paris, reopened, self-managed and volunteer-run, with Talking About Trees; Friday, will show Sophie Fillières' This Life of Mine (Ma vie ma gueule)+ Q.&A. w/Agathe & Adam Bonitzer (her children, who oversaw its completion); I'm seething that it's still unreleased here:...
Kristen Stewart displays far more originality, daring, and imagination in her directorial début, The Chronology of Water, than do some acclaimed veterans among the year's frontrunners (link now working:
www.newyorker.com/culture/the-...
www.newyorker.com/culture/the-...
“The Chronology of Water” Is an Extraordinary Directorial Début
Kristen Stewart’s first feature, based on a memoir by Lidia Yuknavitch, packs great emotional power into its boldly original form.
www.newyorker.com
January 13, 2026 at 11:31 PM
Kristen Stewart displays far more originality, daring, and imagination in her directorial début, The Chronology of Water, than do some acclaimed veterans among the year's frontrunners (link now working:
www.newyorker.com/culture/the-...
www.newyorker.com/culture/the-...
My Name Is Julia Ross, Joseph H. Lewis's 1945 film noir of wartime crimes and terrors, on @tcmtv.bsky.social at 5pm (scroll down:
www.newyorker.com/magazine/201...
www.newyorker.com/magazine/201...
Foreign Bodies
www.newyorker.com
January 13, 2026 at 8:47 AM
My Name Is Julia Ross, Joseph H. Lewis's 1945 film noir of wartime crimes and terrors, on @tcmtv.bsky.social at 5pm (scroll down:
www.newyorker.com/magazine/201...
www.newyorker.com/magazine/201...
On the anniversary of Éric Rohmer's passing, in 2010, it's worth recalling his greatness and his distinctiveness; a Rohmer film is a genre, but—despite his many emulators—it's a genre with only one practitioner, because of the extraordinary life that formed it:
www.newyorker.com/culture/rich...
www.newyorker.com/culture/rich...
Éric Rohmer’s Elusive Life, Revealed in a New Biography
Long before the release of his first feature, Rohmer brought about a revolution in the name of others, as critic, editor, and friend.
www.newyorker.com
January 11, 2026 at 11:17 PM
On the anniversary of Éric Rohmer's passing, in 2010, it's worth recalling his greatness and his distinctiveness; a Rohmer film is a genre, but—despite his many emulators—it's a genre with only one practitioner, because of the extraordinary life that formed it:
www.newyorker.com/culture/rich...
www.newyorker.com/culture/rich...
I've done a little list of good bad-weather movies to stream—classic and modern, long and short—for this week's @newyorker.com Movie Club newsletter; there's no business like snow business: link.newyorker.com/view/5bea068...
Movie Club Newsletter
link.newyorker.com
January 10, 2026 at 10:46 PM
I've done a little list of good bad-weather movies to stream—classic and modern, long and short—for this week's @newyorker.com Movie Club newsletter; there's no business like snow business: link.newyorker.com/view/5bea068...
A favorite film noir, Crime of Passion, with a trio of tough and life-worn performances by Barbara Stanwyck, Sterling Hayden, and Raymond Burr, and directed with compact intensity by Gerd Oswald, on @tcmtv.bsky.social tonight at midnight and tomorrow at 10am, and widely streamable:...
January 10, 2026 at 6:23 PM
A favorite film noir, Crime of Passion, with a trio of tough and life-worn performances by Barbara Stanwyck, Sterling Hayden, and Raymond Burr, and directed with compact intensity by Gerd Oswald, on @tcmtv.bsky.social tonight at midnight and tomorrow at 10am, and widely streamable:...
Dead Man's Wire suggests strong and interesting ambitions without taking the risk of pursuing any one of them; its many briefly engaging pieces, undeveloped, cancel one another out; it should be so much more than just a yarn:
www.newyorker.com/culture/the-...
www.newyorker.com/culture/the-...
“Dead Man’s Wire” Is a Tangle of Loose Threads
In dramatizing a real-life hostage crisis from 1977, Gus Van Sant teases out enticing themes that remain undeveloped.
www.newyorker.com
January 10, 2026 at 4:25 AM
Dead Man's Wire suggests strong and interesting ambitions without taking the risk of pursuing any one of them; its many briefly engaging pieces, undeveloped, cancel one another out; it should be so much more than just a yarn:
www.newyorker.com/culture/the-...
www.newyorker.com/culture/the-...
Major screenings: An Elephant Sitting Still, always in memory and honor of Hu Bo, and now also of his teacher Béla Tarr, whose methods Hu put through the furious flames of his own imagination; at @metrographnyc.bsky.social tomorrow (Saturday) at 1:15pm & Monday at 6
www.newyorker.com/culture/the-...
www.newyorker.com/culture/the-...
“An Elephant Sitting Still,” Reviewed: A Young Chinese Filmmaker’s Masterly Portrait of Political and Intimate Despair
In depicting a society that inflicts cruelty and violence on a large scale and reflects it intimately, Hu Bo has created a crucial modern work of political cinema.
www.newyorker.com
January 10, 2026 at 3:29 AM
Major screenings: An Elephant Sitting Still, always in memory and honor of Hu Bo, and now also of his teacher Béla Tarr, whose methods Hu put through the furious flames of his own imagination; at @metrographnyc.bsky.social tomorrow (Saturday) at 1:15pm & Monday at 6
www.newyorker.com/culture/the-...
www.newyorker.com/culture/the-...
Reposted
1/8/62: Jacques Rozier's Adieu Philippine
Hailed by Tavernier, Truffaut as New Wave landmark
SE coming from @filmsradiance.bsky.social: www.radiancefilms.co.uk/products/tim...
More:
@bealoayza.bsky.social: www.filmcomment.com/blog/that-su...
@tnyfrontrow.bsky.social: newyorker.com/culture/the-...
Hailed by Tavernier, Truffaut as New Wave landmark
SE coming from @filmsradiance.bsky.social: www.radiancefilms.co.uk/products/tim...
More:
@bealoayza.bsky.social: www.filmcomment.com/blog/that-su...
@tnyfrontrow.bsky.social: newyorker.com/culture/the-...
The Return of “Adieu Philippine,” an Overlooked Masterwork
Jacques Rozier’s daringly original drama, from 1962, is spotlighted in a new MOMA series.
newyorker.com
January 8, 2026 at 6:43 PM
1/8/62: Jacques Rozier's Adieu Philippine
Hailed by Tavernier, Truffaut as New Wave landmark
SE coming from @filmsradiance.bsky.social: www.radiancefilms.co.uk/products/tim...
More:
@bealoayza.bsky.social: www.filmcomment.com/blog/that-su...
@tnyfrontrow.bsky.social: newyorker.com/culture/the-...
Hailed by Tavernier, Truffaut as New Wave landmark
SE coming from @filmsradiance.bsky.social: www.radiancefilms.co.uk/products/tim...
More:
@bealoayza.bsky.social: www.filmcomment.com/blog/that-su...
@tnyfrontrow.bsky.social: newyorker.com/culture/the-...
Honored, humbled, and excited to take part in a panel discussion on the legacy of Miles Davis, at the Jazz Congress, today at @jazzdotorg.bsky.social at 2:30pm, in the overwhelming company of Terence Blanchard, Lauren Du Graf, Marcus Miller, Vince Wilburn, Jr., and Ashley Kahn, who's moderating...
January 8, 2026 at 6:26 AM
Honored, humbled, and excited to take part in a panel discussion on the legacy of Miles Davis, at the Jazz Congress, today at @jazzdotorg.bsky.social at 2:30pm, in the overwhelming company of Terence Blanchard, Lauren Du Graf, Marcus Miller, Vince Wilburn, Jr., and Ashley Kahn, who's moderating...
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...