Dames, on @tcmtv.bsky.social at 6am., features musical extravaganzas by Busby Berkeley that are among the wildest works of his gloriously dirty imagination, and its silly yet melodramatic comedy involves fusty characters named Ezra Ounce and Horace P. Hemingway:  www.newyorker.com/goings-on-ab...

History speaks: as the @lincolncenter.bsky.social tribute to Elaine May marks her embrace in the past 20 years by a new generation of cinephiles, the regular return of Eyes Wide Shut (as tonight @paristheaternyc.bsky.social 9:35pm) trumpets its rescue from wide Establishment disdain when released:

Baby Jean Renoir, with Gabrielle Renard, at the Barnes Collection

A word on the silent version of Blackmail, which I saw (and wrote about) twenty years ago: www.newyorker.com/goings-on-ab...

Heads-up, it's July 28; saw and relied on the erroneous listing elsewhere, not the Roxy site.

Bigger Than Life, tonight at 7 at Roxy Cinema, in 35mm.; one of the most visually daring and exciting CinemaScope films.

6/27/55: Orson Welles' Mr. Arkadin Our take: It's an experience, man. Bizarre and essential. Some stunning shots. More: @craigtimes.bsky.social: crimereads.com/orson-welles... @tnyfrontrow.bsky.social: www.newyorker.com/culture/rich... @artforum.com: www.artforum.com/features/bri...

There are some scenes of great power, some imposing characters and performances in Alice Winocour's film Couture, starring Angelina Jolie; its themes and story lines remain largely undeveloped;, but several curious ideas nonetheless emerge: www.newyorker.com/culture/the-...

A Letter to Three Wives, one of my obsessions, appropriately playing in the Something Borrowed, Something Blue series at the Paris, an American Scenes from Three Marriages (with an emphasis here on one proposal): www.newyorker.com/goings-on-ab... www.newyorker.com/culture/rich...

It was a joy to see the restoration of Mikey and Nicky (with the grain expressly left undiminished) last night at @lincolncenter.bsky.social and the aptly festive talk with Elaine May and Julian Schlossberg that followed; very moving to know that she and her films are, at long last, celebrated...

6/26/71: Bergman's The Touch w/Elliott Gould, Bibi Andersson, Max von Sydow From Us: midcenturycinema.org/2018/07/08/n... More: @geoff-andrew.bsky.social: www.bfi.org.uk/sight-and-so... @daveyjenkins.bsky.social: lwlies.com/reviews/the-... @tnyfrontrow.bsky.social: www.newyorker.com/culture/the-...

Moonrise, underappreciated but prime Borzage, from 1948, an unusually frank Southern story for Hollywood at the time, and rich in philosophical reflections on violence, heritage, and masculinity; on @tcmtv.bsky.social at 11:30pm: www.newyorker.com/goings-on-ab... www.newyorker.com/culture/the-...

Let the May-hem begin, at @lincolncenter.bsky.social Mikey and Nicky at 1 and 3:30pm, and at 6 +Q.&A. with Elaine May and Julian Schlossberg; and A New Leaf (which strikes me as the modern response, or retort, to such classic romances as The Shop Around the Corner and The Lady Eve) at 9.

Maurice Pialat's Van Gogh, a personal bio-pic about an artist whose manner and art upset his congenial milieu, at @metrographnyc.bsky.social at 4:15pm (and on @criterionchannl.bsky.social only to the end of the month, with a bunch of his other films): www.newyorker.com/goings-on-ab...

Patricia Mazuy's Travolta and Me, another great film (including the one by Chantal Akerman) in the French TV series All the Boys and Girls of Their Time, full of the reasoned madness of teen passion, screens tonight at 7 at Nightclub 101: www.newyorker.com/goings-on-ab...

Lubitsch's Heaven Can Wait, his supreme vision of the sacrament of desire and—as his first color film—his ultimate display of the profundity of surfaces, at @filmforumnyc.bsky.social at 12:50pm and 6: www.newyorker.com/culture/rich...

Shades of Barbenheimer: both Blue Heron and Erupcja (under the title Eruption) are opening in France (on dozens of screens) this Wednesday.

Arnaud Desplechin's Two Pianos: Not up there w/his holy trinity (Christmas Tale, Kings & Queen, Ishmael's Ghosts), but very fine indeed + love the lighting throughout More: @mattzollerseitz.bsky.social: www.rogerebert.com/reviews/two-... @tnyfrontrow.bsky.social: www.newyorker.com/culture/the-...

Favorite father movie (not saying the greatest but it brings the depth and strangeness naturally and symbolically), Billy Wilder's Love in the Afternoon: www.newyorker.com/culture/rich...

Recalling my first song of summer and the redemptive power of Creedence amid petty and grave tween crises: www.newyorker.com/culture/song...

In gratitude to Eric Dolphy on what would have been his ninety-eighth birthday; I had no idea how important his music was in the world at large when I heard it for the first time and it instantly changed my life: www.newyorker.com/culture/cult...

Larry Clark's great and rare Passing Through, from 1977, a drama of analytical realism of the jazz life in Los Angeles, plays tonight at Arverne Cinema (outdoors) at 7, programmed by Alfreda's Cinema: www.newyorker.com/culture/cult...

Opening Night is incomparable Love Streams Faces Minnie and Moskowitz The Neon Bible A Woman Under the Influence

Woo Who? May Wilson, un documentaire d'Amalie R. Rothschild (1969), est à ne pas rater—le portrait d' une artiste formidable et un vrai personnage—et aussi de la bohèmoisie du Chelsea Hotel de l'époque, à MK2 Bibliothèque ce soir à 18h (et le 24 et le 27) www.newyorker.com/culture/the-...

Also: The Death of Robin Hood is crude cynicism in spiritual garb, as in: stole from the rich and gave to the poor? nonsense, just a psycho killer. The religious part is cover for reactionary pearl-clutching; the mud-and-blood part, a laughable slog; such a thinly imagined world.

Haifaa Al Mansour’s mystery Unidentified, opening today, is a familiar-format investigation sharpened with well-observed specifics; though largely filmed blandly, it has a chase scene that's one of the most architecturally exciting I've seen in a while, real-life backrooms (scroll down:

I was sorry not to find Maddie's Secret very good, because John Early's performance is extraordinary, moving, in high style—but the film is neither crude enough nor fine enough, without images or design or a script that match the ambitions; it needs more than intentions; plus,...

Catastrophes spectacularly aestheticized by the great production designer Eugene Lourié (La Grande Illusion, Rules of the Game) in the lurid 1965 science-fiction thriller Crack in the World (including my original imprint of Dana Andrews), on @tcmtv.bsky.social at 1:30am (ET) (scroll down:...

Great things coming to @criterionchannl.bsky.social in July but none bigger than Nicholas Ray's Bigger Than Life; word from when it was screened at @filmforumnyc.bsky.social, on its greatness and on his centrality to the history of cinema: www.newyorker.com/culture/the-...

Name a TV show you're positive no one remembers but you. Bandy (1971)

Disclosure Day is Steven Spielberg's first late film; where he usually plays to the crowd and hedges his bets, here he's self-revealing and reckless, emphatic and unabashedly strange; his own pleasure in making it comes through clearly, and I share in it: www.newyorker.com/culture/the-...

BOTD Erland Josephson!!! MCCT5 EJ/Bergmans: 5)Saraband 4)Hour of the Wolf 3)Cries & Whispers 2)Fanny & Alexander 1)Scenes from a Marriage More: Liv: www.criterion.com/current/post... Jonathan Rozenkrantz: filmint.nu/that-hurtful... @tnyfrontrow.bsky.social: www.newyorker.com/culture/rich...

Distractedly forgot to call attention to Roberto Rossellini's Germany Year Zero, at @metrographnyc.bsky.social at 4:45pm, a vision of full-range Nazi predation, political and sexual, as is all too familiar: www.newyorker.com/culture/rich...

The reminiscences of the Knicks' glory days with Dave DeBusschere brought back another odd memory; I owned one of these:

Great 35mm. double-header at @movingimagenyc.bsky.social Lizzie Borden's Born in Flames at 12:30pm—political cinema in style and substance, a fervent docu-musical of revolution in the revolution. intersectionality avant la lettre... www.newyorker.com/culture/rich... www.newyorker.com/culture/rich...

Something else to love about the Knicks, perennially: they're named for a fictional character by a major writer; does any other team anywhere have such a literary pedigree?

Waiting to see a couple of short championship films from the auteur section at courtside.

Was there (at home in front of a radio) in 1973; the wait, and the drama, and maybe understanding better the magnitude of the achievement, make this even sweeter.

Terrific Universal Westerns double-header @moma.bsky.social: Edgar G. Ulmer's The Naked Dawn at 4:30pm, introduced by his biographer Noah Isenberg; King Vidor's Man Without a Star, at 7, introduced by Hicham Awad; both with a wide array of tones and moods: erotic, political, violent,...

I suddenly wondered whether Adam Pinney had made a second feature after The Arbalest (SXSW 2016); turns out that he did, it just premièred, and it's a homemade melodrama with a breathtaking half-hour of steadfast reckoning unlike anything I've ever seen: www.newyorker.com/culture/the-...

Saw one of those gambling ads (I revile them), was reminded of the Guys and Dolls scene of betting whether the restaurant sells more strudel or cheesecake, and remembered that Jean Simmons's performance of If I Were a Bell is one of the greatest musical scenes I know.

That overturned call is utterly demoralizing, as is the lack of flagrant from last game; it communicates that the Spurs can get away with anything.

Greatly enjoyed Suki Hawley's film Half-Cocked, from 1994, when I saw it a while back—recalling that, with its cast of musicians, it has real music and real attitude; comes around rarely, playing at @spectacletheater.com at 10: www.newyorker.com/goings-on-ab...

Raoul Walsh's Band of Angels surprised me greatly when I did this piece and clip, it doesn't come around often, and it's at @bambrooklyn.bsky.social at 1:30pm today, introduced by Steven W. Thrasher, who co-programmed the series, Black Cops, Spies and Overseers: www.newyorker.com/culture/rich...

The Blue Dahlia, a favorite film noir, written by Raymond Chandler; a sleazebag precursor to The Best Years of Our Lives, on the traumas and disruptions and petty chiselers of war, on @tcmtv.bsky.social at midnight and 10am: www.newyorker.com/goings-on-ab...

Toute une nuit Jeanne Dielman Portrait of a Young Girl at the End of the 1960s in Brussels Dis-moi One Day Pina Asked

Highly recommended: Frank Simon's 1968 documentary The Queen, a history-making documentary, about the 1967 Miss All-America Camp Beauty Pageant, that's also an analytical vision of how history is made; at @movingimagenyc.bsky.social at 3, in 35mm.: www.newyorker.com/culture/the-...

Highly recommended: The Little Sister, Hafsia Herzi's spare, precise, emotionally direct, conceptually complex adaptation of Fatima Daas's autofiction, with a startlingly poised and inward performance by Nadia Melliti: www.newyorker.com/culture/the-...

Jean-Luc Godard and Jean-Pierre Gorin's essential and rare Vladimir and Rosa (scroll down), two scientists opening the door of their lab and blinking in the bright light; at L'Alliance at 6:30pm + an equally essential and rare event, a Q.&A. with Gorin, moderated by David Fresko (word within:

Treasures of classic-Hollywood weirdness in Universal Westerns at @moma.bsky.social John Ford's first feature, Straight Shooting, and his seeming meta-response, Hell Bent; Allan Dwan's antic Trail of the Vigilantes; and King Vidor's comedic, violent, and passionate Man Without a Star (in Goings On: