@tnyfrontrow.bsky.social
Kelly Reichardt: "The landscape, the lighting, or the music shouldn't dictate your emotion. I don't want to film a sunset. My mother always asked me, 'Are you happy?' And I answered that I don't know what she's talking about. I suppose that I have a fear of sentimentality."...
February 7, 2026 at 4:48 PM
Kelly Reichardt: "The landscape, the lighting, or the music shouldn't dictate your emotion. I don't want to film a sunset. My mother always asked me, 'Are you happy?' And I answered that I don't know what she's talking about. I suppose that I have a fear of sentimentality."...
1. 400 Blows
2. Mississippi Mermaid
3. A Gorgeous Girl Like Me
4. Fahrenheit 451
5. The Man Who Loved Women
2. Mississippi Mermaid
3. A Gorgeous Girl Like Me
4. Fahrenheit 451
5. The Man Who Loved Women
BOTD François Truffaut!!!
MCCT5: 5)Green Room 4)Finally Sunday 3)Day for Night 2)Soft Skin 1)400 Blows
Highly rec Truffaut on Cinema: midcenturycinema.org/node/129
More:
@davidlsims.bsky.social: www.theatlantic.com/entertainmen...
@tnyfrontrow.bsky.social: www.newyorker.com/culture/the-...
MCCT5: 5)Green Room 4)Finally Sunday 3)Day for Night 2)Soft Skin 1)400 Blows
Highly rec Truffaut on Cinema: midcenturycinema.org/node/129
More:
@davidlsims.bsky.social: www.theatlantic.com/entertainmen...
@tnyfrontrow.bsky.social: www.newyorker.com/culture/the-...
The Truffaut Essays That Clear Up Misguided Notions of Auteurism
Truffaut viewed authorship in terms of literal authority, of power, and he placed as much emphasis on the production of films as on their direction.
www.newyorker.com
February 6, 2026 at 8:11 PM
1. 400 Blows
2. Mississippi Mermaid
3. A Gorgeous Girl Like Me
4. Fahrenheit 451
5. The Man Who Loved Women
2. Mississippi Mermaid
3. A Gorgeous Girl Like Me
4. Fahrenheit 451
5. The Man Who Loved Women
The realism of Akinola Davies, Jr.'s first feature, My Father's Shadow (opening next Friday) is something else, more like mytho-realism, because its first-person story goes past personal memory into family, community, and history; highly recommended: www.newyorker.com/magazine/202...
“My Father’s Shadow” Is Intensely—Yet Obliquely—Autobiographical
Akinola Davies, Jr.,’s début feature, scripted by his older brother, Wale, follows two brothers and their father during Nigeria’s historic 1993 election.
www.newyorker.com
February 6, 2026 at 8:00 PM
The realism of Akinola Davies, Jr.'s first feature, My Father's Shadow (opening next Friday) is something else, more like mytho-realism, because its first-person story goes past personal memory into family, community, and history; highly recommended: www.newyorker.com/magazine/202...
Reposted
2/5/74: Very #70s: Patty Hearst Kidnapped
Note the fine Paul Schrader film, w/Natasha Richardson, Ving Rhames
-Kael: "a lean, impressive piece of work"
More:
@redroomrantings.bsky.social: vaguevisages.com/2016/09/22/o...
@tnyfrontrow.bsky.social: www.newyorker.com/culture/rich...
Note the fine Paul Schrader film, w/Natasha Richardson, Ving Rhames
-Kael: "a lean, impressive piece of work"
More:
@redroomrantings.bsky.social: vaguevisages.com/2016/09/22/o...
@tnyfrontrow.bsky.social: www.newyorker.com/culture/rich...
February 6, 2026 at 12:59 AM
2/5/74: Very #70s: Patty Hearst Kidnapped
Note the fine Paul Schrader film, w/Natasha Richardson, Ving Rhames
-Kael: "a lean, impressive piece of work"
More:
@redroomrantings.bsky.social: vaguevisages.com/2016/09/22/o...
@tnyfrontrow.bsky.social: www.newyorker.com/culture/rich...
Note the fine Paul Schrader film, w/Natasha Richardson, Ving Rhames
-Kael: "a lean, impressive piece of work"
More:
@redroomrantings.bsky.social: vaguevisages.com/2016/09/22/o...
@tnyfrontrow.bsky.social: www.newyorker.com/culture/rich...
The friendship of Timothée Chalamet and Anamaria Vartolomei gives hope that he'll join her in a film by Bruno Dumont (The Second Empire?). His manner, like Fabrice Luchini's, is made for Dumont—an unavoidably flippancy.
February 6, 2026 at 2:07 AM
The friendship of Timothée Chalamet and Anamaria Vartolomei gives hope that he'll join her in a film by Bruno Dumont (The Second Empire?). His manner, like Fabrice Luchini's, is made for Dumont—an unavoidably flippancy.
I knew from the start that there's something wrong with the way that extras are deployed in Schindler's List (one of the many things wrong with the film), wrote about it a while ago, and found further confirmation in the new interview with Elina Löwensohn by @jhoffman.bsky.social
February 5, 2026 at 7:51 PM
I knew from the start that there's something wrong with the way that extras are deployed in Schindler's List (one of the many things wrong with the film), wrote about it a while ago, and found further confirmation in the new interview with Elina Löwensohn by @jhoffman.bsky.social
The only problem with movies as good as Filipiñana and zi is that, with their comprehensive artistry, they make most other films a letdown. Can't live only on the peaks, more modest virtues should also be discussed and celebrated, but it's important to acknowledge the difference.
Much fun "at" Sundance (at home, online) thanks to two great films that premièred there, Rafael Manuel's Filipiñana and Kogonada's zi; delighted to have seen them, even more so to keep them in mind afterward:
www.newyorker.com/culture/the-...
www.newyorker.com/culture/the-...
Sundance Is a Feast of World Cinema
This year’s edition of the prime showcase for American independent filmmaking offered two instant classics, “Filipiñana” and “zi,” made in Asia.
www.newyorker.com
February 5, 2026 at 5:48 PM
The only problem with movies as good as Filipiñana and zi is that, with their comprehensive artistry, they make most other films a letdown. Can't live only on the peaks, more modest virtues should also be discussed and celebrated, but it's important to acknowledge the difference.
Reposted
2/2/70: Frederick Wiseman's Hospital
(Great double feature: open w/Kieslowski's short doc Hospital/Szpital - @filmotomy.bsky.social: filmotomy.com/krzysztof-ki...
More:
@nicolasrapold.bsky.social: www.ft.com/content/e0d9...
@tnyfrontrow.bsky.social: www.newyorker.com/culture/rich...
(Great double feature: open w/Kieslowski's short doc Hospital/Szpital - @filmotomy.bsky.social: filmotomy.com/krzysztof-ki...
More:
@nicolasrapold.bsky.social: www.ft.com/content/e0d9...
@tnyfrontrow.bsky.social: www.newyorker.com/culture/rich...
The Front Row: “Hospital”
Frederick Wiseman’s 1970 documentary reveals how medical professionals work the New York health-care system for their patients’ well-being.
www.newyorker.com
February 2, 2026 at 6:36 PM
2/2/70: Frederick Wiseman's Hospital
(Great double feature: open w/Kieslowski's short doc Hospital/Szpital - @filmotomy.bsky.social: filmotomy.com/krzysztof-ki...
More:
@nicolasrapold.bsky.social: www.ft.com/content/e0d9...
@tnyfrontrow.bsky.social: www.newyorker.com/culture/rich...
(Great double feature: open w/Kieslowski's short doc Hospital/Szpital - @filmotomy.bsky.social: filmotomy.com/krzysztof-ki...
More:
@nicolasrapold.bsky.social: www.ft.com/content/e0d9...
@tnyfrontrow.bsky.social: www.newyorker.com/culture/rich...
Much fun "at" Sundance (at home, online) thanks to two great films that premièred there, Rafael Manuel's Filipiñana and Kogonada's zi; delighted to have seen them, even more so to keep them in mind afterward:
www.newyorker.com/culture/the-...
www.newyorker.com/culture/the-...
Sundance Is a Feast of World Cinema
This year’s edition of the prime showcase for American independent filmmaking offered two instant classics, “Filipiñana” and “zi,” made in Asia.
www.newyorker.com
February 4, 2026 at 8:31 PM
Much fun "at" Sundance (at home, online) thanks to two great films that premièred there, Rafael Manuel's Filipiñana and Kogonada's zi; delighted to have seen them, even more so to keep them in mind afterward:
www.newyorker.com/culture/the-...
www.newyorker.com/culture/the-...
A couple of terrific interviews in February @cahiersducinema.bsky.social —with Ronald Bronstein, by Charlotte Garson ("I'm convinced that, when you zoom in enough on a single person, you break through the ceiling of specificity and emerge on the ground of universality") and Kelly Reichardt,...
February 3, 2026 at 6:46 PM
A couple of terrific interviews in February @cahiersducinema.bsky.social —with Ronald Bronstein, by Charlotte Garson ("I'm convinced that, when you zoom in enough on a single person, you break through the ceiling of specificity and emerge on the ground of universality") and Kelly Reichardt,...
Speaking of Joan Crawford, Autumn Leaves is playing at 4 at @moma.bsky.social To Save and Project; a great melodrama with Robert Aldrich's bitter film-noir pessimism, here aimed at hearts-and-flowers romance and the stigmatizing of mental illness—plus the family life that's often at its root:
The Front Row: “Autumn Leaves”
Robert Aldrich's 1956 film with Joan Crawford provides crucial backstory to “Feud,” Ryan Murphy’s miniseries about the frenemosity between Crawford and Bette Davis.
www.newyorker.com
February 2, 2026 at 8:02 PM
Speaking of Joan Crawford, Autumn Leaves is playing at 4 at @moma.bsky.social To Save and Project; a great melodrama with Robert Aldrich's bitter film-noir pessimism, here aimed at hearts-and-flowers romance and the stigmatizing of mental illness—plus the family life that's often at its root:
Extraordinary interview with Kleber Mendonça Filho, by my colleague Stephania Taladrid, that goes far into the sources, ideas, and methods of The Secret Agent; his approach to the archival is a fundamental and far-reaching ethic of cinema:
www.newyorker.com/culture/the-...
www.newyorker.com/culture/the-...
The Brazilian Director Who’s Up for Multiple Oscars
Kleber Mendonça Filho wants his films to reclaim lost history.
www.newyorker.com
February 1, 2026 at 4:55 PM
Extraordinary interview with Kleber Mendonça Filho, by my colleague Stephania Taladrid, that goes far into the sources, ideas, and methods of The Secret Agent; his approach to the archival is a fundamental and far-reaching ethic of cinema:
www.newyorker.com/culture/the-...
www.newyorker.com/culture/the-...
The lovely Sundance elegy by @justincchang.bsky.social unfortunately reminded me of Sundance history: ignoring (much of) the future as it was happening: no Frownland, Yeast, Josephine Decker's first films, the Safdies, Tiny Furniture, early Bujalski and Swanberg, Sun Don't Shine, Hamilton...
January 31, 2026 at 4:35 PM
The lovely Sundance elegy by @justincchang.bsky.social unfortunately reminded me of Sundance history: ignoring (much of) the future as it was happening: no Frownland, Yeast, Josephine Decker's first films, the Safdies, Tiny Furniture, early Bujalski and Swanberg, Sun Don't Shine, Hamilton...
Reposted
On the end of Sundance as we know it. (Yes, I wrote about Grub Steak.) www.newyorker.com/culture/the-...
One Last Sundance in Park City
The most important film festival in America bade farewell to its Utah roots.
www.newyorker.com
January 31, 2026 at 3:07 PM
On the end of Sundance as we know it. (Yes, I wrote about Grub Steak.) www.newyorker.com/culture/the-...
Max Ophuls's first absolute masterwork, La Tendre Ennemie (The Tender Enemy), from 1936—with form and invention as advanced as its bittersweet comedy is refined—is playing at @metrographnyc.bsky.social at noon, in 35mm.; word about it, and about Ophuls-ism overall: www.newyorker.com/culture/rich...
Max Ophüls’s Unheralded Masterwork “The Tender Enemy”
The film shows the power of simple tricks to realize a fantastic, supernatural, yet sharply logical and piercingly dramatic story.
www.newyorker.com
January 31, 2026 at 8:27 AM
Max Ophuls's first absolute masterwork, La Tendre Ennemie (The Tender Enemy), from 1936—with form and invention as advanced as its bittersweet comedy is refined—is playing at @metrographnyc.bsky.social at noon, in 35mm.; word about it, and about Ophuls-ism overall: www.newyorker.com/culture/rich...
Delighted to be introducing a longtime favorite of the nerve-jangled sixties, Pretty Poison, at the @paristheaternyc.bsky.social tomorrow at 4, as part of the @nyfcc.bsky.social series, regardless of the big chill.
January 31, 2026 at 1:55 AM
Delighted to be introducing a longtime favorite of the nerve-jangled sixties, Pretty Poison, at the @paristheaternyc.bsky.social tomorrow at 4, as part of the @nyfcc.bsky.social series, regardless of the big chill.
The Origin of the World, by Brady Courbet
January 30, 2026 at 11:56 PM
The Origin of the World, by Brady Courbet
Suzannah Herbert's documentary Natchez, opening today at Film Forum (needs to be shown nationally), turns observation into engagement—with history, its witnesses, its falsifiers, and government's crucial (and endangered) role in its preservation and transmission:
www.newyorker.com/magazine/202...
www.newyorker.com/magazine/202...
Challenging Official Histories in “Natchez” and “Mr. Nobody Against Putin”
Two stunning new documentaries—one filmed in Mississippi, and one in Russia—examine the ways that education comes up against indoctrination.
www.newyorker.com
January 30, 2026 at 3:34 PM
Suzannah Herbert's documentary Natchez, opening today at Film Forum (needs to be shown nationally), turns observation into engagement—with history, its witnesses, its falsifiers, and government's crucial (and endangered) role in its preservation and transmission:
www.newyorker.com/magazine/202...
www.newyorker.com/magazine/202...
Distractedly forgot to mention that Dennis Hopper's thrillingly and terrifyingly wild Out of the Blue, starring the great, lamented Linda Manz, is playing tonight at Quad Cinema at 8:15pm with a virtual introduction by Brian Cox:
www.newyorker.com/goings-on-ab...
www.newyorker.com/goings-on-ab...
Out of the Blue
www.newyorker.com
January 29, 2026 at 10:56 PM
Distractedly forgot to mention that Dennis Hopper's thrillingly and terrifyingly wild Out of the Blue, starring the great, lamented Linda Manz, is playing tonight at Quad Cinema at 8:15pm with a virtual introduction by Brian Cox:
www.newyorker.com/goings-on-ab...
www.newyorker.com/goings-on-ab...
Reposted
1/28/44: Robert Siodmak ATG #FilmNoir Phantom Lady
[P: Joan Harrison] w/Franchot Tone, Ella Raines, Elisha Cook Jr.
More:
@tnyfrontrow.bsky.social: www.newyorker.com/video/watch/...
@geoff-andrew.bsky.social: www.bfi.org.uk/features/how...
@phuonghhle.com: metrograph.com/this-is-a-ma...
[P: Joan Harrison] w/Franchot Tone, Ella Raines, Elisha Cook Jr.
More:
@tnyfrontrow.bsky.social: www.newyorker.com/video/watch/...
@geoff-andrew.bsky.social: www.bfi.org.uk/features/how...
@phuonghhle.com: metrograph.com/this-is-a-ma...
This is a man's job! - Journal - Metrograph
On Ella Raines and the enigmatic Phantom Lady.
metrograph.com
January 28, 2026 at 4:57 PM
1/28/44: Robert Siodmak ATG #FilmNoir Phantom Lady
[P: Joan Harrison] w/Franchot Tone, Ella Raines, Elisha Cook Jr.
More:
@tnyfrontrow.bsky.social: www.newyorker.com/video/watch/...
@geoff-andrew.bsky.social: www.bfi.org.uk/features/how...
@phuonghhle.com: metrograph.com/this-is-a-ma...
[P: Joan Harrison] w/Franchot Tone, Ella Raines, Elisha Cook Jr.
More:
@tnyfrontrow.bsky.social: www.newyorker.com/video/watch/...
@geoff-andrew.bsky.social: www.bfi.org.uk/features/how...
@phuonghhle.com: metrograph.com/this-is-a-ma...
On what's left of Mozart's birthday, some specifics (beyond the antiauthoritarian furies of The Marriage of Figaro and Don Giovanni) regarding his indignant rage at injustices of his day: here, his letter of Aug. 8, 1781 regarding one of them (or many of them in one story):
January 28, 2026 at 3:28 AM
On what's left of Mozart's birthday, some specifics (beyond the antiauthoritarian furies of The Marriage of Figaro and Don Giovanni) regarding his indignant rage at injustices of his day: here, his letter of Aug. 8, 1781 regarding one of them (or many of them in one story):
Terrific series coming to @movingimagenyc.bsky.social "2001: The Year, Not the Movie," Feb. 14-April 11; first thought, seeing the title: will they show In Praise of Love? Yes—in 35mm.! plus other favorites, including The Day I Became a Woman, That Old Dream That Moves, and I'm Going Home:
January 27, 2026 at 9:04 PM
Terrific series coming to @movingimagenyc.bsky.social "2001: The Year, Not the Movie," Feb. 14-April 11; first thought, seeing the title: will they show In Praise of Love? Yes—in 35mm.! plus other favorites, including The Day I Became a Woman, That Old Dream That Moves, and I'm Going Home:
A couple of words from a while back on The Killing of a Chinese Bookie: from 2008, about its crucial transitional place in John Cassavetes's work, and from 2012, in which Ben Gazzara provides the receipts; it screens today at @ifccenter.bsky.social (twice the long version, twice the short):
January 26, 2026 at 4:22 PM
A couple of words from a while back on The Killing of a Chinese Bookie: from 2008, about its crucial transitional place in John Cassavetes's work, and from 2012, in which Ben Gazzara provides the receipts; it screens today at @ifccenter.bsky.social (twice the long version, twice the short):
Thrilled that Once Upon a Time in Harlem has been completed, is playing at Sundance, and is being received as the historic masterwork that it is.
I've seen one of the greatest of documentaries, William Greaves's Once Upon a Time in Harlem, and I hope that you'll be able to see it soon, too: www.newyorker.com/culture/the-...
“Once Upon a Time in Harlem” Is a Film for the Ages
William Greaves’s great historical documentary, centered on a 1972 reunion of Harlem Renaissance luminaries, is still awaiting completion.
www.newyorker.com
January 26, 2026 at 3:35 AM
Thrilled that Once Upon a Time in Harlem has been completed, is playing at Sundance, and is being received as the historic masterwork that it is.
Reposted
1/25/51: Bogie in The Enforcer, w/Zero Mostel, Ted de Corsia, & Everett Sloane [DP Robert Burks]
@kinolorber.com blu w/ @thetallcinephile.bsky.social commentary
More:
@trailersfromhell.bsky.social: trailersfromhell.com/film-noir-th...
@tnyfrontrow.bsky.social:
www.newyorker.com/goings-on-ab...
@kinolorber.com blu w/ @thetallcinephile.bsky.social commentary
More:
@trailersfromhell.bsky.social: trailersfromhell.com/film-noir-th...
@tnyfrontrow.bsky.social:
www.newyorker.com/goings-on-ab...
January 26, 2026 at 2:14 AM
1/25/51: Bogie in The Enforcer, w/Zero Mostel, Ted de Corsia, & Everett Sloane [DP Robert Burks]
@kinolorber.com blu w/ @thetallcinephile.bsky.social commentary
More:
@trailersfromhell.bsky.social: trailersfromhell.com/film-noir-th...
@tnyfrontrow.bsky.social:
www.newyorker.com/goings-on-ab...
@kinolorber.com blu w/ @thetallcinephile.bsky.social commentary
More:
@trailersfromhell.bsky.social: trailersfromhell.com/film-noir-th...
@tnyfrontrow.bsky.social:
www.newyorker.com/goings-on-ab...