The director discusses Joaquin Phoenix and researching Scientology
Hou Hsiao-hsien's tale of a lonely mother and son takes flight
This year's Cannes Film Festival offered treasures from Russia, Mexico, Romania, and China
'Departed' hero of the Hong Kong new wave returns the compliment
'Henri Langlois' doesn't just preach to the converted
High-Intensity Moviegoing at the Toronto International Film Festival
The seductive star of '2046' reveals the method of his mood
In '2046,' the world's greatest living filmmaker fails to forget the past
Wong Kar-wai and Kim Ki-duk steal time
Wong's 'Hand' Offers Cinephilic Foreplay in 'Eros'
Surveying China with Hero cinematographer Christopher Doyle
With arrows flying and swords clanking, Jet Li holds Out for a Hero
The personal schmoozes the political at the world's most influential film fest
The Venice Film Festival gives voice to the global cacophony
Rancorous "Anti-Americanism" reigns at the 56th Cannes Film Festival
A 14-film retrospective charts the turbulent partnership of Akira Kurosawa and his warrior muse
The Animal Collective get intimate with their audience
The naked truth about putting together a regional showcase like the Minneapolis/St. Paul International Film Festival. And a revealing body of blurbs about the best and the not-best of the fest.
The National Entertainment State Stands Firm--Then Runs Away
Director Tsui Hark returns to his Hong Kong roots for Time and Tide
Or, Cannes 2001: How to love the movies without hating yourself
Wong Kar-wai's In the Mood for Love lingers at the crossroads of impossible romance and infinite possibility
Crouching Tiger, Hidden Dragon is well-balanced to a fault
What you see is (not) what you get: Twelve months of well-screened duds and rarely viewed wonders
From escapist entertainment to aesthetic ecstasy: Twenty-nine writers script valentines to twelve months of culture
After a summer full of multiplex fodder, the New York Film Festival provides an unpretentious showcase for arty cinema
French blockbuster maker Luc Besson delivers his non-awaited director's cut of The Big Blue
While Western art cinema draws the flashbulbs at Cannes, contemplative works from China, Taiwan, and Hong Kong leave the festival glowing in klieg lights from the East
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
The movies of '98 posed the question: Haven't we seen this somewhere before?
Happy Together and Vive L'Amour find the films of Hong Kong and Taiwan in the throes of a sexual revolution.
Her life to live: Alice Houri in Claire Denis's Nénette et Boni
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.
The New York Film Festival's new New Wave--and the industry's same old neglect.
Writes of Passage: Vivian Wu in The Pillow Book
In its 50th year, is the world's most prestigious film festival showing its age?
The view from here to Scotland, Hong Kong, and Fargo
Chungking Express changes the tempo of pop cinema.
A critic's guide to getting away from the multiplexes.