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Spiritual Cinema

Finding reasons to believe in films both sacred and profane.

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Features

FOXCATCHER and Friends

January 19, 2015
FOXCATCHER

Sport film favorites from an Oscar contender.

Features

Liv Ullmann: Do Pictures ‘Do It?’

January 18, 2015 | One Comment
MISS JULIE

A conversation on ‘connection:’ Though its lead actress may have been snubbed by 2015’s Oscars, MISS JULIE’s director, Liv Ullmann is undeterred.

Articles

Oscars 2015: Based on a ‘Truthiness’ Story

January 16, 2015
IMITATION GAME

Dramatizing history, taking heat this Oscar season: SELMA, FOXCATCHER, THE IMITATION GAME and AMERICAN SNIPER wrangle with the truth.

Articles

THE CONFORMIST: Best Film of 1971—and 2015?

January 16, 2015
THE CONFORMIST

On Bertolucci’s stylishly pained interrogation of one man’s, and one nation’s, compromises for the sake of power, acceptance and, desperately, happiness.

Articles

On Location with Noir City 13

January 15, 2015 | 2 Comments
WOMAN ON THE RUN

San Francisco is the shadowy backdrop for many of Noir City 2014’s unholy matrimony stories.

Features

Moments Out of Time 2014

January 14, 2015 | One Comment

Images, lines, gestures and moods from the year’s films.

Features

Indelible Images

January 14, 2015
PIGEON BRANCH EXISTENCE

Before the forgetting sets in: a last look at the best of 2014.

Articles

Everyday Absurdities: The Films of Ruben Östlund

January 13, 2015

‘In Case of No Emergency:’ A look at Östlund features playing FSLC shows we’re in good hands.

Articles

Ageless Grace: Five Looks at Simone Signoret

January 13, 2015

Reconsidering the true beauty of a mid-century screen icon.

Features

Around the World in 24 Film Festivals

January 12, 2015

A survivor’s guide; plus 10 unmissable fests for 2015.

Features

The Best Foreign Films of 2014, Shortlisted, Reconsidered

January 10, 2015 | 6 Comments
MOMMY

Appreciating a few choice fruits from a bountiful year in non-English-language cinema.

Features

Mark Peranson: LA ULTIMA PELICULA

January 10, 2015
LA ULTIMA PELICULA

‘It hit me at some point that it made sense having two directors on a movie where imperfection is interwoven into the fabric of the film.’