The great Iranian director lost a home but gained a planet
Decade was tarnished by sequels, uplifted by longshots
Il Divo glitters among duller bulbs like The Girl From Monaco, Just Another Love Story
Saying Goodbye to Two Giants of World Cinema
Iranian director scores with sports movie as social commentary
'Last Days' wanders the woods of grunge
The Everything Movie lands on all four of our film critics' top 10 lists
'Route 181' draws the line between human trauma and resilience
The world makes out all right at the International Film Festival
Four critics pick 40 or so favorites--and fail to agree on a single one
How to remake the New York Film Festival's arthouse esoterica for the midwestern megaplex
Film as a weapon in a time of war: Minneapolis/St. Paul International Film Festival coverage.
Gus Van Sant goes his own way with a stark survival drama
Three movie critics pick 21 favorites (and only one in common) from 2002.
Video artist Shirin Neshat unveils Islam's conflicted heart
The same old auteurs, profound political films, and baffling Brits
The National Entertainment State Stands Firm--Then Runs Away
A Festival of New Documentaries Presents a "Reality" Where More Is at Stake Than Who Gets Voted Off the Island
Jafar Panahi's The Circle is a vicious one
Abbas Kiarostami's The Wind Will Carry Us takes its time pondering the human condition
Or, Cannes 2001: How to love the movies without hating yourself
Solondz brings his salt shaker to another open wound; Denis makes Trouble
Once is never enough: Try another tryst with world cinema in week two of the Minneapolis/St. Paul International Film Festival
With Movie Wars, film critic Jonathan Rosenbaum positions himself as the last line of defense against Hollywood tyranny
What you see is (not) what you get: Twelve months of well-screened duds and rarely viewed wonders
After a summer full of multiplex fodder, the New York Film Festival provides an unpretentious showcase for arty cinema
With Not One Less, director Zhang Yimou calculates the human costs of the new China
Moshen Makhmalbaf's euphoric cinema reaffirms the basic beauty of life
1999 brought a cinematic bounty to the art house and the multiplex alike
Violent Cop and Boiling Point reveal the roots of Takeshi Kitano's bloody funny cinema
While American critics script eulogies for foreign film, this year's festival at Cannes suggests that reports of its death are an exaggeration
Ninety-three films, three projectors, and the whole wide world
The movies of '98 posed the question: Haven't we seen this somewhere before?
Her life to live: Alice Houri in Claire Denis's Nénette et Boni
Lifesaver: Babek Ahmed Poor in Abbas Kiarostami's Where Is the Friend's House?
In 1997, independence was not a status so much as a state of mind.
Has the artsyplex boom housebroken the independent film? A partisan's manifesto.
In its 50th year, is the world's most prestigious film festival showing its age?