This is the best time of the day.

Terence Davies's melancholy, furious Sunset Song—not his most original film form but a nonetheless singular blend of anti-nostalgic candor and high-principled rapture; today at Moving Image at 4, preceded by a Q.&A. with its star, Agyness Deyn: www.newyorker.com/goings-on-ab...

"The unruly spirit of artistic creation gets a bittersweet comedic workout in I’VE HEARD THE MERMAIDS SINGING" says @tnyfrontrow.bsky.social in @newyorker.com See it Monday night as part of our monthly queer movie series Cruising the Movies! www.ifccenter.com/films/ive-he...

A couple of words on The Deep Blue Sea, Terence Davies's anguished vision of the desperate romanticism of varieties of lovelessness (could be titled Choose Your Poison), in 35mm. at Moving Image at 6:30pm: www.newyorker.com/culture/rich... www.newyorker.com/culture/rich...

Terence Davies's The House of Mirth, deeply imbued with the repression and aesthetic of the time, via emotional archeology and personal self-excavation; at Moving Image at 6:30pm, 35mm.; introduced by Michael Barker of Sony Classics www.newyorker.com/culture/rich... www.newyorker.com/goings-on-ab...

Spectacular film day, including an essential movie-theatre experience, Who's Crazy? Thomas White's film with The Living Theatre and Ornette Coleman's trio score, @anthologyfilm.bsky.social at 7:30pm (preceded by a live performance by William Hooker & Alan Braufman) www.newyorker.com/culture/rich...

and Terence Davies's A Quiet Passion, a voluble ecstasy, a screwball tragedy, one of the aesthetically supreme movies about a supreme aesthete; flip dismissals at Berlin FF; Museum of the Moving Image at 7 (+ Q.&A. w/Cynthia Nixon): www.newyorker.com/culture/rich... www.newyorker.com/culture/rich...

An excess of pleasures: Chantal Akerman's Un jour Pina a demandé…(One Day Pina Asked), a TV treasure (caught by chance and with astonishment when broadcast in France) that deserves the big screen @moma.bsky.social 4:30pm (x2: www.newyorker.com/culture/rich... www.newyorker.com/goings-on-ab...

PTA 123 w/o reference to the new one: Licorice Pizza, Phantom Thread, The Master, followed by a big gap...

9/17/69: Paul Mazursky's Bob & Carol & Ted & Alice w/Culp & Wood & Gould & Cannon Comedy w/much to say achieves Cassavetes-level intensity Our take: midcenturycinema.org/node/182 More @kimmorgan.bsky.social: thenewbev.com/blog/2017/04... @tnyfrontrow.bsky.social: www.newyorker.com/culture/the-...

Peter Falk, in Big Trouble, delivers one of the funniest scenes ever: youtu.be/3djsQb1iMg4?...

In memory and honor of Robert Redford, whose last major role, in The Old Man & the Gun, is one of his greatest—films, roles, and performances (have many other great actors worked with so few great directors? This movie was an inspired pairing): www.newyorker.com/culture/the-...

Heads-up on one of the most effervescent of Hollywood romances, Vincente Minnelli's Designing Woman, with Lauren Bacall in one of her most grounded performances and Gregory Peck in one of his breeziest, at 12:15pm (ET) (now) on @tcmtv.bsky.social: www.newyorker.com/goings-on-ab...

1. Casque d'Or 2. Arsène Lupin 3. Falbalas 4. Antoine et Antoinette 5. Touchez pas au grisbi

BOTD Jacques Becker!! MCCT5 5)Casque d'Or 4)Antoine/Antoinette 3)Goupi Mains Rouges 2)Le Trou 1)Touchez pas au Grisbi More @dwhdaily.bsky.social: www.criterion.com/current/post... @katerbland.bsky.social: www.indiewire.com/features/gen... @tnyfrontrow.bsky.social: www.newyorker.com/culture/the-...

Neuroses are red, even in black-and-white: the Hitchcockian Frank Tashlin joins with the punctilious Tony Randall to turn Agatha Christie murderously meta in the uproariously inventive The Alphabet Murders @tcmtv.bsky.social 12:30pm www.newyorker.com/culture/rich... www.newyorker.com/goings-on-ab...

Toute Une Nuit was the first film by Chantal Akerman that I saw—in Munich in 1983—with astonishment, but when it didn't play here, I wondered whether memory had inflated it; on the contrary; at @moma.bsky.social at 4 (sorry) and also @criterionchannl.bsky.social www.newyorker.com/culture/the-...

Terence Davies was wrong about one thing: he always spoke ill of The Neon Bible, and doubtless what he imagined is better than what he did (inevitable for all great artists), but it's powerful, in style and substance; at Museum of the Moving Image 3pm—in 16mm.! www.newyorker.com/culture/the-...

Distant Voices, Still Lives, one of the greatest first features and one of the most original, at Museum of the Moving Image at 4:30pm; Davies's form and style (construction and beauty) establish one of the very few total worlds of cinema ever created: www.newyorker.com/goings-on-ab...

Love Megalopolis (rightly) or hate it (obtusely), Mike Figgis's making-of, Megadoc (which opens Sept. 19) reveals the daring methods with which Francis Ford Coppola made it, and how they gave rise to its startling aesthetic: www.newyorker.com/culture/the-...

9/12/03: Jafar Panahi's brilliant Crimson Gold [W: Abbas Kiarostami] More: @jhoberman.bsky.social: www.villagevoice.com/the-invisibl... @qvhough.bsky.social / @vaguevisages.bsky.social: vaguevisages.com/2022/01/18/c... @tnyfrontrow.bsky.social: www.newyorker.com/culture/the-...

The Long Day Closes, one of the most hauntingly beautiful films, opens the long-awaited Terence Davies retrospective—a career of all highlights—at Museum of the Moving Image at 7; his voice, onscreen and in person, is greatly missed www.newyorker.com/culture/rich... www.newyorker.com/goings-on-ab...

9/11/71: Maurice Pialat's The House in the Woods Olivier Assayas: "The fact that a work as important Maison des Bois had not been recognized...[is] astonishing” More: @tnyfrontrow.bsky.social: www.newyorker.com/magazine/201... @tghuang.bsky.social /mubi: mubi.com/en/notebook/...

I've just read sentences I'm glad not to have written that express ideas I'm relieved not to have had. But reading and acknowledging them is a good self-test.

The complete retrospective of Chantal Akerman's films at @moma.bsky.social offers two rare screenings of one of her greatest films, Portrait of a Young Girl at the End of the 60s in Brussels—not an autobiography but among her most personal works nonetheless: www.newyorker.com/culture/the-...

Highest 2 Lowest didn't get a theatrical release in France, I assume because the "chronologie des médias" would have barred it from streaming for seventeen months; still, it exists and is available, and the dearth of reviews of it—the lack of critical engagement—is disappointing.

9/9/90: Martin Scorsese's Goodfellas, w/Ray Liotta, Robert De Niro, Joe Pesci + + DP Michael Ballhaus [cue the stunning Copa shot: www.youtube.com/watch?v=mcXB... More: @guylodge.bsky.social: www.theguardian.com/film/2020/se... @tnyfrontrow.bsky.social: www.newyorker.com/culture/rich...

Riff from elsewhere: CINÉMA FRANÇAIS 1950-59 one per director, no special order: Le Plaisir Mon Oncle La Pointe Courte Orpheus Picnic on the Grass Pickpocket Blue Jeans Casque d'or Night and Fog The 400 Blows obviously Bitter Victory (which counts, but seriously: Pourvu qu'on ait l'ivresse

Thought I saw a sign for Miller and Sons in Citizens Bank Park.

All About Eve, at @bambrooklyn.bsky.social at 6:45pm, is one of the great there-but-for-the-grace-of-God movies, imagining being trapped in a stage career and never having found the cinema (also, Chaplin's Limelight; maybe Cassavetes's Opening Night, too): www.newyorker.com/culture/rich...

The films that put Ermanno Olmi on the world map, on @tcmtv.bsky.social I Fidanzati (The Fiancés), 2:15am; Il Posto (The Job) at 4—warm-hearted visions of young people trapped in soul-freezing work: www.newyorker.com/culture/rich... www.newyorker.com/goings-on-ab... www.newyorker.com/goings-on-ab...

Question borrowed from the other place: top 5 performances of the decade so far: Guslagie Malanda, Saint Omer Margot Robbie, Barbie Jeffrey Wright, The French Dispatch Franz Rogowski, Passages Jafar Panahi, No Bears

Since 1941 screens at noon tomorrow at @movingimagenyc.bsky.social worth remembering what wild invention lurks mainly untapped in Steven Spielberg's career (hoping he finds a liberating later-year production as other great filmmakers of his generation have done): www.newyorker.com/culture/the-...

9/6/99: Abbas Kiarostami's The Wind Will Carry Us Rosenbaum: might be [his] greatest film Our take coming soon via Fall @cineastemagazine.bsky.social: www.cineaste.com More: @tnyfrontrow.bsky.social: www.newyorker.com/culture/rich... @screenslate.bsky.social: www.screenslate.com/articles/win...

Eddington is a film noir merely decorated with political rhetoric—except when it flaunts revolting sexual politics, leaves actual political stories undeveloped, and indulges in nostalgia for which it has no aesthetic; the epitome of a Hollywood bubble: www.newyorker.com/culture/the-...

Raven Jackson's first feature All Dirt Roads Taste of Salt is one of the most original of recent movies, and one of the most (justly) influential it's at MOMA at 7 in When the World Broke Open: Katrina and Its Afterlives, programmed by @mayascade.bsky.social www.newyorker.com/culture/the-...

May 1968 hit many French people hard, including Robert Bresson, whose 1971 film Four Nights of a Dreamer (based on Dostoyevsky's White Nights) reckons with its energies, makes fun of its enthusiasms, admires its passions; it's at Film Forum in a new restoration:  www.newyorker.com/goings-on-ab...

Jacques Tati's Playtime is vast in physical and intellectual scope—an exquisite comedy, a seething satire, a rapturous romance, an antic revolution; it's here today twice, 4:15pm at @bambrooklyn.bsky.social in a DCP; 6:30pm at @paristheaternyc.bsky.social in 70mm.! www.newyorker.com/culture/rich...

Pete Ohs's new film, Erupcja, which just premièred at Toronto, is both an unassumingly spectacular première for Charli XCX as an actor and an excitingly original modernist melodrama in the Rossellini vein: it could be Voyage to Poland, with a twist of Stromboli: www.newyorker.com/culture/the-...

Charlie Chaplin's Monsieur Verdoux, @tcmtv.bsky.social 8pm., is a reckless masterwork of radical repudiation, a late film of stark extremes—though even his early features were late, defying the pure popularity of his short films:  www.newyorker.com/culture/rich... www.newyorker.com/magazine/201...

9/3/66: Agnès Varda's The Creatures w/Catherine Deneuve, Michel Piccoli Coolly received, but note: @tnyfrontrow.bsky.social: www.newyorker.com/culture/rich... @spectrumculture.bsky.social: spectrumculture.com/2019/07/11/o... [Bonus - Much more on Agnes from us: midcenturycinema.org/wp-content/u...

Palombella Rossa, from 1989, Nanni Moretti's supreme movie to date (along with Caro Diario), is being *re*released in France on Wednesday; it hasn't yet been released here (wondering: are music rights an issue? www.newyorker.com/magazine/201... www.newyorker.com/goings-on-ab...

8/31/63: Alain Resnais’ Muriel More: @jhoberman.bsky.social - Resnais "quintessential film": www.nytimes.com/2016/08/28/m... Sarris: "I urge everyone who hasn't seen it to do so immediately" @tnyfrontrow.bsky.social: illustrates France's "self destructive" "collective repression of history"

Highest 2 Lowest brings to mind Spike Lee's other recent rich-protagonist movie, Da Sweet Blood of Jesus, which I liked a lot when it came out and which is as fascinating a gloss on Ganja & Hess as the new film is on High and Low:... www.newyorker.com/culture/rich...

Vincente Minnelli's Two Weeks in Another Town is one of the great inside-Hollywood films that, like The Barefoot Contessa and Contempt (and the not-great but nonetheless wild Paris When It Sizzles), take place outside Hollywood; on @tcmtv.bsky.social at 2:30am (ET): www.newyorker.com/goings-on-ab...

BOTD Ingrid Bergman!!! MCCT5 5)Journey to Italy 4)Gaslight 3)Autumn Sonata 2)Casablanca 1)Notorious More: @pamhutch.bsky.social: www.bfi.org.uk/sight-and-so... @christinalefou.bsky.social: www.bfi.org.uk/lists/ingrid... @tnyfrontrow.bsky.social: www.newyorker.com/culture/rich...

If you're nearby, dash to Metrograph for Jean Eustache's My Little Loves, at 11:50am; if not, later in the day, Monte Hellman's Cockfighter, at 5:10pm: www.newyorker.com/goings-on-ab... www.newyorker.com/goings-on-ab... www.newyorker.com/culture/rich...

In the morning, a great night movie: The Story of Three Loves, with special word on Vincente Minnelli's episode; on @tcmtv.bsky.social at 7:45am (scroll down: www.newyorker.com/culture/cult...

8 million shades of gray:

Ingmar Bergman's passionate, rapturous Summer With Monika, fuelling young men with longing and fear for decades, at @bambrooklyn.bsky.social at 7: www.newyorker.com/culture/rich... www.newyorker.com/magazine/201... www.newyorker.com/culture/rich...