A sneak peek at the cover of next week’s issue, which celebrates Zohran Mamdani’s historic win. #NewYorkerCovers https://newyorkermag.visitlink.me/451hFM

'Stein of the times? On the wonders, blunders, and blunderbusses of Guillermo del Toro's FRANKENSTEIN, a movie I liked quite a bit, even if it is, too fittingly, its own technologically compromised creature: www.newyorker.com/culture/the-...

A truly iconic reaction from Kaufman

Our 2026 Career Achievement Award recipient is Philip Kaufman

Hive minds and galaxy brains: on the transfixing psychological duet of Emma Stone and Jesse Plemons, in Yorgos Lanthimos’ BUGONIA: www.newyorker.com/magazine/202...

Jafar Panahi's Palme d'Or winner, IT WAS JUST AN ACCIDENT, is now playing in New York and Los Angeles theatres. A film of blistering rage and implacable moral authority, in which Panahi's presence, experience and courage are stamped into every frame: www.newyorker.com/culture/the-...

Epic fail-safe: A HOUSE OF DYNAMITE is a high-minded piece of doomsday schlock — and a baffling misuse of the director Kathryn Bigelow's talents. www.newyorker.com/culture/the-...

Byrne notice: on Mary Bronstein's frayed-nerves tour de force IF I HAD LEGS I'D KICK YOU, led by one of the year's great performances. www.newyorker.com/culture/the-...

I profiled Richard Linklater on the occasion of his remarkable 2025 double bill, BLUE MOON and NOUVELLE VAGUE. We talked Austin, Cannes, Paris, OKLAHOMA!, beginnings (and ends) of beautiful friendships, and how to pursue a singular vision in a collaborative medium. www.newyorker.com/culture/pers...

There Willa be blood: Paul Thomas Anderson’s exhilarating ONE BATTLE AFTER ANOTHER, reviewed. www.newyorker.com/magazine/202...

We strongly condemn the actions taken by Nexstar and Disney-ABC to pull JIMMY KIMMEL LIVE! off the air.

We strongly condemn the actions taken by Nexstar and Disney-ABC to pull JIMMY KIMMEL LIVE! off the air.

Firing a Black woman for quoting Kirk’s horrific statements about Black women is insane. It seems the Washington Post would rather perform politeness (and demand that the people Kirk harmed do it too) that tell the truth: karenattiah.substack.com/p/the-washin...

Warmest of welcomes to Lovia Gyarkye, the newest member of the National Society of Film Critics. Congratulations, Lovia!

As long as we’re on the subject of Netflix and movies (however reluctantly!) I recommend this piece by @tavlin.bsku.social about why so many Netflix movies suck: www.nplusonemag.com/issue-49/ess...

In light of Vanity Fair's recent idiotic decision, WaPo's offering its veteran critic a buyout, the NYT's "reassigning" three arts writers critics, etc., a lot of us are talking about the public's (and thus publications') lack of interest in criticism. It's part of a larger pattern of a war...

"Evil is not eternal, and truth will surely win." On dissidence, despair, and defiant hope in Julia Loktev's extraordinary five-part documentary, MY UNDESIRABLE FRIENDS: PART I — LAST AIR IN MOSCOW. www.newyorker.com/culture/the-...

To hell with this. Richard is one of our finest critics, and Vanity Fair and its readers are so much poorer for this incredibly stupid decision.

Two Linklaters, two Day-Lewises, and about a PILLION other reasons to be excited for the 63rd New York Film Festival's Spotlight lineup: www.filmlinc.org/nyff/daily/6...

Only a great critic can go into a movie as drecky as FREAKIER FRIDAY and emerge with a review as expansive, considered, and thoughtful — not just about the movie, but about the industry that produced it — as the incomparable @szacharek.bsky.social does here: time.com/7308212/frea...

The considerable power of Boris Lojkine’s new film “Souleymane’s Story” depends entirely on its moment-to-moment persuasiveness, on a set of narrative and aesthetic choices that, as presented, seldom feel like choices at all, @justincchang.bsky.social writes.

Sound of fall-ing: Behold, the glorious Main Slate of the 63rd New York Film Festival! Programming this with Dennis Lim, Florence Almozini, Rachel Rosen and K. Austin Collins was, as ever, a joy. www.filmlinc.org/nyff/daily/6...

Every word of this, from @tnyfrontrow.bsky.social: www.newyorker.com/culture/the-...

Every word of this, from @tnyfrontrow.bsky.social: www.newyorker.com/culture/the-...

Masked and QAnonymous: EDDINGTON, reviewed. www.newyorker.com/magazine/202...

Web of lies: Kiyoshi Kurosawa’s terrific CLOUD, reviewed. www.newyorker.com/culture/the-...

This is a dazzling piece by Amy Taubin on the eighth episode of David Lynch’s “Twin Peaks: The Return.” It’s criticism at its absolute finest. @amyornot.bsky.social mubi.com/en/program-n...

Double, double oil and rubble: here's "Bleak Magic," my essay for the new @criterion.bsky.social release of William Friedkin's magnificent SORCERER. www.criterion.com/current/post...

illegal war started by a man constitutionally ineligible to be president

In praise of Kathleen Chalfant, who gives one of the year’s finest performances in FAMILIAR TOUCH, Sarah Friedland’s superb first feature. Opens Friday, June 20, at Film Forum: www.newyorker.com/culture/the-...

Pascal’s triangle: on MATERIALISTS, the latest from Celine Song, in theatres this Friday. www.newyorker.com/magazine/202...

I wrote about the stunning career triumph of Jafar Panahi's IT WAS JUST AN ACCIDENT and other films of political resistance and reckoning at Cannes 2025, with notes on PUT YOUR SOUL ON YOUR HAND AND WALK and MY FATHER'S SHADOW. www.newyorker.com/culture/the-...

On my last day in Cannes, I was on the Film Comment podcast (alongside @alisonwillmore.bsky.social, @justincchang.bsky.social and host Devika Girish) to talk about some of the festival's final premieres. (I was pretty rapturous about RESURRECTION and especially THE MASTERMIND.)

I came, I saw, I concurred with those who felt this was the strongest Cannes in years. Here's my annual competition ranking — a tougher exercise than usual and, as always, a provisional one. Hope to revisit many of these movies in months to come: www.newyorker.com/culture/the-...

PANAHI D'OR

Jafar Panahi has won the Golden Lion at Venice (THE CIRCLE), the Golden Bear at Berlin (TAXI), and now the Palme d'Or at Cannes (IT WAS JUST AN ACCIDENT). He is the fourth director to win top honors at all three festivals, after Clouzot, Antonioni, and Altman.

I reviewed THE ETHAN HUNT FOR RED OCTOBER. www.newyorker.com/magazine/202...

THE HISTORY OF SOUND: Folk-Track Mountain. #Cannes

Was going to post this link later, but whatever, I’ll do it now: here’s a first dispatch from #Cannes, with notes on NOUVELLE VAGUE, HIGHEST 2 LOWEST, DIE MY LOVE and SOUND OF FALLING. More to come … www.newyorker.com/culture/the-...

SIRÂT: Mad Laxe: Fury Road. #Cannes2025

At the Cannes Film Festival opening ceremony, jury president Juliette Binoche condemned the killing of Palestinian photojournalist Fatma Hassona, saying she ‘should have been among us tonight.’

But ... the theatre is named after Louis Lumière! How can you ban large trains? #Cannes2025

One of the year’s best movies is now in U.S. theatres: Jia Zhangke’s ingeniously retconned archival epic CAUGHT BY THE TIDES, which, for all its career-spanning intricacy, can be enjoyed, and indeed surrendered to, without an advanced degree in Jiametry. www.newyorker.com/magazine/202...

Barry Blitt’s cover for this week’s issue, “The First Hundred Days.” #NewYorkerCovers nyer.cm/ysrCZ47

Behold, your Cannesclave:

APRIL, Dea Kulumbegashvili's extraordinary, shattering follow-up to BEGINNING (2020), is now playing @filmlinc.bsky.social and Film Forum. Here's my @newyorker.com review: www.newyorker.com/culture/the-...

The more the marrier: how Andrew Ahn’s THE WEDDING BANQUET slyly updates, strenuously complicates, but never quite matches or improves on an Ang Lee classic. www.newyorker.com/culture/the-...

A tomb with a view: on the mournful yet mordantly funny mysteries of David Cronenberg's THE SHROUDS, opening in U.S. theatres this Friday (4/18). www.newyorker.com/magazine/202...

RIP the extraordinary Jean Marsh, dead today at 90. A career of astonishments, but this '80s kid will never forget her stuff-of-nightmares performances in RETURN TO OZ, WILLOW and a little-seen (but fondly remembered) TV version of A CONNECTICUT YANKEE IN KING ARTHUR'S COURT.

Exit wounds: on Ray Mendoza and Alex Garland’s gripping, rigorously withholding WARFARE, the rare war movie defined as much by what it doesn’t do as by what it does. www.newyorker.com/magazine/202...