In many ways, Wong Kar-wai’s “In the Mood for Love” is the first real movie I’ve ever watched.
In brief glances and lovelorn sobs, “Portrait of a Lady on Fire” finds a passion that transcends time and burns brighter with each day.
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Ekwa Msangi’s feature film, “Farewell Amor,” premiered at Sundance Film Festival Jan. 25.
Duke alumni made a splash at Sundance this year — many of the films in competition were acted, directed and produced by Duke graduates now working in the industry.
Benedict Cumberbatch seems to be steadily making his way through the 20th century.
“The Painter and the Thief” follows the shocking meeting and budding friendship between an artist and the thief who stole her paintings.
The Oscars are still very white and very male, but they feel bad about it, apparently.
About a minute into “Jojo Rabbit,” the film’s 10-year-old protagonist has a conversation with his imaginary friend — Adolf Hilter.
Filmmaker Zeina Durra returned to Sundance this year with her newest film “Luxor,” starring actors Andrea Risenbourgh and Karim Saleh.
Aneil Karia made his Sundance Film Festival debut with “Surge,” a psychological thriller that stars Ben Whishaw as Joseph, a troubled young man who lives an isolated life in London as an airport security officer.
Once considered one of the most esteemed and coveted prizes a filmmaker could win, the Academy Award’s luster has since dulled under the corrosive influence of time and progress.
“1917” has taken the awards circuit by storm with its technologically innovative and visually striking approach to the war film genre.
Adam Sandler is notorious for starring in bad films.
Louisa May Alcott’s “Little Women” is a beloved Hollywood mainstay, and it has been adapted into film for nearly as long as the medium has existed.
If the Internet hasn’t defined your idea of “Boomers” yet, allow artists of the generation to do it for you.
Writer-director Rian Johnson breathes life back into the “whodunit” with “Knives Out.”
“Frozen 2” opens with a song about everything staying the same.
Divorced from visuals and performances, Robert Eggers’s screenplays read like landmark pieces of American theater still studied and performed for their enduring relevance.