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‘Natchez’ Review: Shrewd Doc Explores a Southern City’s Struggle to Acknowledge History In her Tribeca award winner, Suzannah Herbert observes a Mississippi city known for its antebellum celebrations.

“In NATCHEZ, Herbert observes how an American city that profits off its antebellum history grapples with its legacy of slavery….” 📽️ 🇺🇸 🎞️ #film #cinema #movies #documentaries #FilmSky #AmericanSouth #Mississippi #SuzannahHerbert #WomenFilmmakers

"Unlike many classic noirs and gangster films of the studio era, Fritz Lang’s 1953 masterpiece The Big Heat treats women both seriously and sympathetically."

David Sterritt reviews for our winter issue: www.cineaste.com/winter2025/t...

Ep. 377: Berlin 2026 – David Hudson on Rosebush Pruning, The Red Hangar, Dao, plus a word for Mouse Podcast Episode · The Last Thing I Saw · 02/14/2026 · 35m

Had a great time talking with @nicolasrapold.bsky.social here at the #Berlinale about Alain Gomis’s DAO, Juan Pablo Sallato’s THE RED HANGAR, and Karim Aïnouz’s ROSEBUSH PRUNING on The Last Thing I Saw — podcasts.apple.com/us/podcast/e...

One of the great last films, An Autumn Afternoon—a ferocious repudiation of conformism and decorum, in private and civic realms—should dispel any misguided notion of Ozu as a gentle observer of delicate feelings; at @moma.bsky.social at 7: 
www.newyorker.com/culture/rich...

The New Yorker Reporting, Profiles, breaking news, cultural coverage, podcasts, videos, and cartoons from The New Yorker.

Oscar nominations plus: my friends and colleagues @justincchang.bsky.social and @michaelschulman.bsky.social and I discuss them here, in the @newyorker.com Daily newsletter, with our editor Erin Neil keeping the peace:
link.newyorker.com/view/5bea068...

How Gaza Broke the Art World • EQUATOR The former editor of Artforum, fired in the wake of 7 October, reckons with two years of division, fear and silence

“The art world, with all its progressive scaffolding and humanist ornamentation, practically designed to celebrate and aestheticize every rebellion, couldn’t metabolize Palestine. It still can’t.”

David Velasco @equatormag.bsky.social — www.equator.org/articles/how...

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.

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...

YouTube video by CRITERION Jafar Panahi’s Closet Picks

Deep admiration for what he’s chosen to do here.

www.youtube.com/watch?v=SqH9...

The Delirious Cinematic Artifice of Bi Gan’s “Resurrection” In the Chinese director’s third feature, the pop idol Jackson Yee plays a shape-shifting dreamer who gets lost in a densely allusive maze of stories and genres.

Few movies this year can hold a fast-melting candle to Bi Gan's RESURRECTION. www.newyorker.com/culture/the-...

Bilge Ebiri: “Why Terrence Malick Is the Most Influential Director” Bilge Ebiri explores filmmaker Terrence Malick’s vision of grace and his far-ranging influence on American cinema.

For the latest issue of The Yale Review, I wrote about Terrence Malick's massive influence on modern American filmmaking. yalereview.org/article/bilg...

Looking forward to think pieces about the foreboding enbratification of 21st-century cinema….

❗️

Season of the List: Top Ten Movies of 2025 You know you want it

I dared to write about my Top Ten movies of 2025 over at OLD NEW: oldnew.substack.com/p/season-of-...

Cover Image: Film Quarterly Winter 2025 Cover: No Other Choice (directed by Park Chan-wook) Editor’s Notebook J. M. Tyree Mouths & Mirrors in Ryan Coogler’s Sinners Anthony Michael D’Agostino “I Have Friends Everywhere”: Andor’s Revolutionary Commitments Ramzi Fawaz Dossier: Franchise Everything! Edited by Marc Francis Introduction Marc Francis Bad Infinity: Hollywood Macrofranchises and the Macroeconomy J. D. Connor On the Next Installment: The Brazilian Film Franchise and the Art of Parcelamento Nilo Couret Must-See Blackness Alfred L. Martin, Jr. Hierarchies of Value: Female Film Franchises and Industrial Forgetting Courtney Brannon Donoghue When Stars Align: The Shared Universes of Hindi Franchise Cinema Nitin Govil Anime Franchising in Japan: Animation and the Diversity of Media Mix Practice Rayna Denison Interview Shooting for a Revolution: Interview with Janus Metz Gerald Sim Festival Reports Smashing the Patriarchy in Bologna: A Feminist Dispatch from Il Cinema Ritrovato Maggie Hennefeld Cannes 2025: Scrutinizing the Political Ani Maitra, Mary Simonson Retrospective The Hollywood Version: Cold Wars On and Off Set in The Big Lift (1950) Joseph Pearson

For our year-end issue cover, FQ has No Other Choice! Inside - Film of the Year: Sinners; Series of the Year: Andor; Interview: Janus Metz on Andor; The Big Lift at 75; Dossier: Franchise Everything!; Reports: Cannes, Bologna; Editor's Notebook: Horror and Humor. Unlocked articles coming soon!!

What the Warner Bros. Sale Means for the Art of Movies The competition between Netflix and Paramount Skydance to acquire the studio is haunted by the ghosts of mergers past.

“The experiential difference between watching a movie in a theatre and on a home screen varies for every movie…. Having done most of my primordial childhood movie-viewing on TV and most of my artistically formative viewing, in adolescence and early adulthood, in theatres, I’m agnostic….” 📽️ 🇺🇸 🎞️ #film

Hollywood actress Kim Novak (b. 1932), star of films such as “The Man With the Golden Arm” (1955), “Picnic” (1955), “Vertigo” (1958), “Kiss Me, Stupid” (1964), and “The Mirror Crack’d” (1980).

TAGS: #KimNovak #Hollywood #Film #Cinema #Movies #Picnic #Vertigo #AlfredHitchcock #TheMirrorCrackd

Udo Kier in a 1991 polaroid taken by Gus Van Sant.

Remembering Udo Kier … www.criterion.com/current/post...

Boris Karloff and makeup artist Jack Pierce -Bride of Frankenstein (1935)

"The monster was the best friend I ever had."

-Boris Karloff #BOTD

ZODIAC KILLER PROJECT: Now playing at @ifccenter.bsky.social, with Q&A screenings with director Charlie Shackleton tonight and tomorrow.

Coming to more cities soon, including Los Angeles, Chicago, San Francisco, Austin, and more!

Two of the best films of the year, coming out within weeks of each other, are about filmmaker fathers approaching old age, each with two daughters, the older completely estranged and the younger cordial but not very connected.

Left: Rocky Horror by Mick Rock, a coffee table book of photos from the film shoot, with Tim Curry as Dr. Frank N. Furter on the cover. Right: cover of Booze & Vinyl, a book pairing drinks & music.

Left: Cover of The Art of Ron Cobb, a coffee table book of sketches by a key production designer for Blade Runner, Alien, Aliens, Conan the Barbarian, and other major SF and fantasy movies. Cover shows a cutaway view of the Delorean from Back to the Future. Right: Cover of Harryhausen, The Movie Posters, a coffee table book of poster reproductions

Left: cover of Hip- Hop America by Nelson George, a brief history of the early decades of the art form. Right: cover of The House That Trane Built, about how the artistic achievements of John Coltrane helped power one of the most influential jazz record companies.

Left: cover of Amos Vogel's Film as a Subversive Art, showing a magician's assistant in a form-fitting, black and white speckled outfit standing next to a chair upon which a white rabbit is comfortably lounging. Right: cover of The World is Yours, Glenn Kenny's book about the making of Scarface--a tiger lying on the floor, looking slightly up and offscreen.

The annual Ho-Ho-Holiday Sale is underway at MZS.Press arts bookstore. we've chosen items for maximum gift-ability. We *automatically* upgrade USPS shipping one level (yes, you read that right!). All orders packed with obsessive care. And we put little extras in there, too! mzs.press/EVERYTHING-W...

🚨 IT WAS JUST AN ACCIDENT director Jafar Panahi will return to FLC for in-person 🎤 Q&As at our 6:15pm screenings on Saturday, November 29 and Sunday, November 30!

Get 🎟️ to the #NYFF63 selection: filmlinc.org/panahi

WARM CURRENT (1939), Kōzaburō Yoshimura’s second (and earliest surviving) feature, screens on 35mm 🎞️ on December 7 at 6pm and December 8 at 12:30pm as part of our upcoming retrospective Kōzaburō Yoshimura: Tides of Emotion!

🎟️: filmlinc.org/yoshimura

©1939 Shochiku Co., Ltd

Who waits in line for a 100-year-old, 5-hour silent movie? New Yorkers, of course. "Napoleon" sells out Film Forum in screenings a century in the making.

Abel Gance’s NAPOLEON (1927) screened in NYC for the first time in 40+ years — and "sold out immediately".

@filmforumnyc.bsky.social is looking into more showings of BFI's 5 1/2-hour Kevin Brownlow restoration, despite "a complicated web of rights holders." 🙏

gothamist.com/arts-enterta... #FilmSky

The key idea throughout the series: A black-and-white cropped still from a Watkins film stamped in the middle with a single word. Aggressive font, red, all caps. Here: Radical.

Controversial.

Relevant.

Subversive.

Still impressed by this series of posters for a 2018 Peter Watkins retrospective presented by Wolf Kino in Berlin.

What a still image!

With a rifle slung over her shoulder, a woman reads a poster with the latest news from her fellow communards in Peter Watkins’s LA COMMUNE (PARIS, 1871) (2000).

Remembering Peter Watkins … www.criterion.com/current/post...

Zohran Mamdani just quoted Eugene Debs right at the TOP of his acceptance speech. 👏🏽 ♥️ 🗽 🗳️ #politics #NYCPolitics #ZohranMamdani #NYCElections #NYCMayor #USPolitics