11 Great Filmmakers Who Have Never Won the Academy Award for Best Director

Photo via the Criterion Collection

With the 87th Academy Awards commencing this Sunday, we’re reminded that artistic merit does not always mean taking home a gold statue. Simply because a film wins the award of Hollywood’s elite, does not be that it creatively surpasses its contemporaries. And just because a film goes unrecognized by the Academy, the lack of appreciation in that regard says little to what it deserves. This year, director Ava DuVernay went sans nomination for Selma, but over the course of cinematic history, few categories have caused as much of a stir as Best Director. From Stanley Kubrick and Wim Wenders to Ingmar Bergman and David Lynch, some of the last century’s most brilliant artists have failed to move past a nomination, if even given that—which, of course, speaks namely to the politics of Hollywood and not to their respective genius. So, to get you thinking about who will find themselves with arms full of gold on Sunday, here are some of film’s most beloved and talented directors who’ve never garnered the coveted Academy Award for Best Director.


Cinematic Obsessions: Casual Voyeurism,  Everyday Detectives, Seedy Underbelly’s Lurking Behind Pleasant Facades, What’s Hiding Behind the Red Curtains, Flesh on Flesh, 1950s Music and Ephemera, Psycho-Erotic Discomfort, Multiple Personalities, Saccharine Indulgences, Trout, Coffee, The Mysteries of Love, The Secret of Night
Best Director Nominations: Mulholland Drive, Blue Velvet, Elephant Man
Best Films: Mulholland Drive, Blue Velvet, Wild at Heart


Cinematic Obsessions: Man versus Technology, Man versus Himself, The Theatrics of Violence, Psychological Journeys Through the Use of Color, Meticulous Planning and Shooting, Psychosexual Aggression
Best Director: Barry Lyndon, A Clockwork Orange, Dr. Strangelove or: How Learned to Stop Worrying and Love the Bomb, 2001: A Space Odyssey
Best Films: A Clockwork Orange, Dr. Strangelove or: How Learned to Stop Worrying and Love the Bomb, Eyes Wide Shut, The Shining


Cinematic Obsessions: Dramatic Musical Cues, Languid and Beauitful Slow-Motion Shots, Wresting Weary Heads on Shoulders in the Back of Taxis, Endless Romantic Yearning, Food, Lonesome Cigarette Smoking, Deep and Impressionist Use of Color, The Torture of Love, Heartbreaking Matters of Timing
Best Director Nominations: None
Best Films: In the Mood for Love, Chungking Express, 2046


Cinematic Obsessions: The Great American West, Existential Romantic Longing, The Barriers of Human Connection, Transient Spaces, Child/Parent Dynamics, The Psycholoigcal Effects of Neon, Spirituality and a Nostalgic Longing for an Absent Something, Emotional Isolation
Best Director Nominations: None
Best Films: Paris, Texas, Wings of Desire, Alice in the Cities, Pina


Cinematic Obsessions: Exposed Realism, Psycho-Dramatic Character Studies, New York City Streets, Manicly Delivered Male Monologues, Exposure of Social/Societial Injustice/Disorder
Best Director Nominations: The Verdict, Network, Dog Day Afternoon, 12 Angry Men
Best Films: Dog Day Afternoon, Network, Serpico, 12 Angry Men


Cinematic Obsessions: Existential Questioning of Faith and Mortality, Female Sexuality and Desire, Looming Presence of Death, Moral Quandries and Crisis, Psychological Horror
Best Director Nominations: Fanny and Alexander, Autumn Sonata, Face to Face, Cries & Whispers, Through a Glass Darkly, Wild Strawberries
Best Films: Persona, The Seventh Seal, Wild Strawberries, Cries & Whispers, Scenes from a Marriage, Winter Light


Cinematic obsessions: Wheat fields Gently Blowing in the Wind at Magic Hour, Sweeping Philosophical Voiceovers, The Confounding Nature of Existence, The Evils of Man, The Divine Presence in Everyday Life, Examining Humility and Grace Through Love, Man’s Existence with Nature Through Time, Redemption and Forgiveness
Best Director Nominations: The Tree of Life, The Thin Red Line
Best Films: Days of Heaven, Badlands, The Tree of Life


Cinematic Obsessions: Rotating Character Studies, Emphasis of Atmosphere and Personalities Over Narrative Structure, Improvisation of Script, Multiple Plotlines, Intersection of Worlds, Music as a Driving Force
Best Director Nominations: Gosford Park, Short Cuts, Nashville, MASH, The Player
Best Films: 3 Women, The Long Goodbye, Nashville, McCabe & Mrs. Miller, MASH, Gosford Park


Cinematic Obsessions: The Psyche of Men, Matters of the Heart, The Struggle and Pain of Human Relationships, Alcohol, Volatility of Emotion, Expression of the Artistic Self, Characterization, Raw Performance, Love
Best Director Nominations: A Woman Under the Influence
Best Films: A Woman Under the Influence, Opening Night, Faces, The Killing of a Chinese Bookie


Cinematic Obsessions: Surrealist Imagery, Exposure of Cinematic Experimentation, Bourgeois Dinner Parties That Never Go As Planned, Satiristic Comedies of Fantasy, Criticism of Morals and Religion, Mocking of the Church, Nonsynchronous Music
Nominations for Best Director: The Obscure Object of Desire, The Discreet Charm of the Boregeoisie
Best Films: The Exterminating Angel, The Discreet Charm of the Bourgeois, Un Chien Andalou, Belle Du Jour


Cinematic obsessions: The Audience as a Voyeur, The Charms of Sociopathy, A Little Murder After Supper, Mommy Complexes, The Relationship Between Sex and Death
Nominations for Best Director: Psycho, Rear Window, Spellbound, Lifeboat, Rebecca
Best Films: Spellbound, Vertigo, North by Northwest, Rebecca, Psycho

The Making of John Cassavetes’ ‘Husbands’

John Cassavetes was a filmmaker who lived deeply inside his own world. He was a passionate man of extremes, possessed with a fierce talent that bordered on madness. Dismissive to the critiques of others, he was only interested in matters of the heart—what meant something to him and those he loved—shedding light on what it meant to be a human and the relationships that make us so. His defensiveness and quick-draw hinted at a vulnerability behind the volatile man, yet Cassavetes was adamant about facing the fear which motivates us. He said, “The most difficult thing in the world is to reveal yourself, to express what you have to. As an artist, I feel that we must try many things—but above all we must dare to fail. You must be willing to risk everything to express it all.”

Coming from an actor’s background, he was truly an actor’s director—focused on characterization and pulling forth genuine performances at any cost and by whatever means possible. He believed that “We are people already, so all we have to do is be someone in a given situation,” an idea so simple but that seems to escape so many of those on camera. No matter if he was screaming at his crew or working intimately with an actor, Cassavetes was never short of emotion or excitement. His energy was non-stop and his tendency towards perfectionism caused him to craft films that allowed him to be involved in every aspect of the process. And for all his work, the 1970 film Husbands—which he wrote, directed, and starred in alongside Peter Falk and Ben Gazzara—was possibly his most exposed film, characteristic of his own honest questions about the emptiness of existence and what it means to be in the middle of your life and still not know who you are or where you’re supposed to be. His cinematic style allows the audience to get close to the characters in a way that almost feels intrusive—never knowing if you should turn away and allow them to have this private moment, both exposing the character while making us reveal ourselves as well.

Husbands tells the story of three men who, following a friend’s sudden death, are forced to examine their own states of being and exhibit a mutual midlife crisis of personal faith. The film follows them between New York and London as they drink and maniacally laugh their way into one situation after another, blurring the pains of reality for brief moments, only to have them smack them in the face the next. It’s a sincere and sensitive yet tough and biting force of a film that veers off into misogyny at times but never without a glimmer of remorse and guilt lingering behind. Their flaws are entirely on display and as Cassavetes is wont to do, their performances are as unapologetic as their character’s behavior. Working with two co-stars who were close personal friends of his in real life, Cassavetes’ dynamic is unparalleled—playing so naturally with a mix of fear, aggression, love, and, at times, the mundane moments that audiences may find tedious but serve to remind us how starkly realistic he is willing to go as a filmmaker to expose the condition of the human soul and its complexities.

While searching for a video in which Cassavetes explains that if he were to do a musical, it would be of Dostoevsky‘s Crime and Punishment, I came across the making of Husbands. It’s an incredible watch for those who love his work but also for anyone who cares about cinema and the dire passion of those who create it. Enjoy.


Personal Faves: The Best of the Early ’70s on Film

This past year, I have seen roughly 200 films. As my job requires me to see a plethora of movies, a good chunk of them were new releases. But as I am a hermit on the weekends, many were older films I always meant to see but for some reason or another let slip between the cracks. For me, watching a film is always experiential; I love nothing more than the physical response to viewing a great film you’ve never seen and the cinematic high that follows. But I always look at my constant film watching as an education, leaving the theater or shutting off my computer as if I’ve just done a close reading of an important text, feeling as if I’ve gained insight into a time and a place in the world that I ever knew existed. And when it comes to Hollywood in the 1970s, that for me has always been the most enthralling and the most informative.

1. Zabriskie Point, Michaelangelo Antonioni (1970)

What lacks in dialogue is completely made up for in cinematography and sound thanks to Pink Floyd’s disjointed psychedlic meets ethereal soundtrack. The beginning scenes in Los Angeles with all the 1960s aggressive advertising juxtaposed with the bare desert and the final blowup/breakdown just killed me. Of course, Antonioni plus Sam Shepard would only naturally equal the dustiest choreographed orgy scene of bodies and sounds.

2. Alice in the Cities, Wim Wenders (1974)

I love everything about this movie, from the pacing to the polaroids and exterior driving shots (that reminded me of Dennis Hopper’s early photographs). Wenders’s films are filled with so much yearning and so much restlessness; people aching so badly to find that thing or feeling they’ve never even been able to name. They’re all so hungry for love and connection and something to make them feel alive, and what could be more universal?

3. The Landlord, Hal Ashby (1970)

Here’s a really great 1970s New York race-relations film. It was endearing and funny while also being insightful and guttural. Hal had a really bizarre tone to all of his films and this one takes a little bit to get situated but when it does, it feels like how his others end up—living in this weird world between the absolutely ridiculous and extreme reality. Beau Bridges boyish face was the perfect canvas to project against this urban world.

4. Five Easy Pieces, Bob Rafelson (1970)

If I could be reincarnated as anything it would be Jack Nicholson’s left eyebrow in 1970. His performance in really established his maniacal acting style that is just so good it makes me wonder if modern actors of this callibar even exist anymore. The film is brilliantly written and directed, showing a tragically ambivalent man’s existential crisis that leads down a road to nowhere in the style of New Wave art film.

5. Shampoo, Hal Ashby (1975)

A hazy satire of late ’60s sexual politics and great hair. It’s interesting to set a film as a period piece—seven years earlier—with a political backdrop that only keeps the mood light. If the script had fallen into another director’s hands with lesser actors, I’m sure a good deal of magic would have been lost, but this was wonderful. Warren Beatty’s haircut and Julie Christie’s backless sequined dress are really the other leads of the film.

6. Husbands, John Cassavetes (1970)

Troubled men, troubled world. This one is wonderfully shot, of course; Cassvetes is the master of holding the camera close to bodies and faces to expose interiors in a way that’s as haunting as it is aesthetically beautiful. The dynamic between Cassavetes, Falk, and Gazzara cannot be beat. Cassavetes’s maniacal laugh will be playing on repeat in my head for days. The film displays the immature idocy of men but also the knowledge that they recognize their ways and attempt to change—but is it only out of shame or guilt?

7. Sunday Blood Sunday, John Schlesinger (1971)

What the film does best is speak to the sentiment that we’re drawn to that which will never be fully attainable despite all our efforts. It’s not a film about what it is like to be a gay man in love or the struggles that coincide, but a film about what it’s like to be a person in love—male, female, whatever. If the film is still progressive to this day, it’s for the way in which it does not treat the homosexuality of the characters as something different or subversive. Both Daniel and Alex’s stories feel ultimately tragic because perhaps their desire for him was merely a projection.

8. The Parallax View, Alan J. Pakula (1974)

Every film in his political paranoia trilogy is perfect. Gordon Willis’s cinematography kills me and is at its best when in these kinds of stories. So much inching tension and unrest. So psycholoigcally stimulating and well-acted. Sidenote: Is it a requirement for all the leads in this trilogy to have the same brunette haircut?

9. Performance, Donald Cammell, Nicolas Roeg (1970)

No one does out-of-focus, sparkling-chandelier-light haze reminiscent of fantastical winter nights of intoxication better than Roeg. Jesus, this movie is a fucking brilliant depiction of indentity and the power to transform oneself. As usual, sexuality and violence go hand in hand that seduces you with it’s lustful danger. And obviously, the music is half the pleasure.

10. The Long Goodbye, Robert Altman (1973)

Elliott Gould is perfect as the wisecracking and fumblingly adorable Marlowe. Altman’s version captures an essence of ’70s easy cool LA that’s breezy and charismatic yet haunted by it’s darkness lurking beneath the surface. Takes noir and makes it natural. Great sounds.

From David Lynch to John Cassavetes, Here’s What You Should Be Seeing This Weekend in New York

Sundays may be a "wan, stuff shadow of a robust Saturday" or a day of "forced leisure for folks who have no aptitude for leisure," according to Tom Robbins, but a weekend is still a weekend. The pleasure of a Friday night, the knowing the burdens of work week have a brief respite carry themselves into the following two days of leisure, and what better way to indulge in that leisure than heading to the cinema.  

And this weekend, there are more than enough wonderful films showing around New York for you to disappear into. Whether it’s your favorite Cassavetes or Lynch, the best of NYFF, or some of the most stunning new releases, there’s surely something to satisfy every cinematic appetite. I’ve founded up the best of what’s playing around the city, so peruse our list, and enjoy.  


IFC Center

Mulholland Drive
Ain’t Them Bodies Saints
Blue Caprice
Frances Ha
Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean
Dario Argento’s Dracula 3D
Muscle Shoals
The Getaway
I Used to be Darker
A River Changes Course
A Touch of Sin
Una ncohe
The Big Lebowski


The Killing of a Chinese Bookie
Enough Said
Blue Jasmine
Opening Night
A Woman Under the Influence

Landmark Sunshine

We Are What We Are
In a World…
Short Term 12
The Summit
Monty Python
The Room

Film Forum

The Young Girls of Rochefort
After Tiller
Let the Fire Burn
Une chambre en ville
West Side Story


Don Jon 
In a World… 
Bloodsucking Freaks
Muscle Shoals

Film Linc

Inside Llewyn Davis
Burning Bush 
The Wind Rises
American Promise  
NYFF Live: Claire Denis
L’Age D’Or
The Lusty Men
The Secret Life of Walter Mitty
They Live By Night
About Time
Abuse of Weakness
Jimmy P.
Written on the Wind
The Immigrant

Museum of the Moving Image

All Cats Are Brilliant
Man’s Favorite Sport?
Tiger Shark
Today We Live
Hello Anatolia
One Step Ahead
The Tree and the Swing
Kiss the Children


An Autumn Afternoon
The Dead Man and Being Happy
The Garden of the Finzi-Continis
The Night in Varennes
Shutter Island
The Name of the Rose

Celebrating the Brilliance of Ben Gazzara on His Birthday

“The one who made the best spaghetti was Ben Gazzara,” said photographer Sam Shaw. “We used to have [a competition]…It would have take him four hours in the kitchen all by himself, steaming the tomato sauce.” It’s a charming anecdote and one that feels well-suited for the brilliantly impassioned and intense force that was Gazzara. As an actor in the truest sense—taking on the stage, television and film—he possessed a rare indefinable quality that’s difficult to articulate or pinpoint but always strongly felt in everything he did. With a presence that was at once deeply masculine and brimming with maniacal energy—yet hushed and stewing from the inside out—he worked for nearly half a century, playing roles that walked the line between everyday men and those psychologically teetering on the edge.

Born in 1930, Gazzara began his early acting days at the Lee Strasberg Actors Studio alongside the likes of Marlon Brando, appearing in the original performance of Tennessee Williams’ Cat on a Hot Tin Roof and getting his footing in the world of theater. “When I became hot, so to speak, in the theater, I got a lot of offers,” he said. “I won’t tell you the pictures I turned down because you would say, ‘You are a fool.’ And I was a fool.”  

But in was his relationship with director John Cassavetes that brought forth his most fascinating work. Gazzara truly came to life and appeared at home in the director’s raw and emotional world, sharing the screen with Peter Falk and Gena Rowlands. They all operated in Cassavetes’ specified cinematic style—one which allowed the audience to get close to the characters in a way that almost feels intrusive—never knowing if you should turn away and allow them to have this private moment, both exposing the character while making us reveal ourselves as well.

Cassavetes said that Gazzara was always playing up to different variations on himself, and with his incredible performances in The Killing of a Chinese Bookie, Husbands and Opening Night, perfected characters with very particular male sensibility that could never have been portrayed by anyone but him. So as today is his birthday, we’re taking a look back on some of his tremendous work with our favorite Gazzara moments—from interviews and documentaries to his work on film and television. Enjoy.


The Killing of Chinese Bookie


Run For Your Life


Gazzara, Cassavetes, and Falk on The Dick Cavett Show


The Killing of a Chinese Bookie Opening


Opening Night


Husbands (Entire Movie)


Ben Gazzara New York


The Making of Husbands


Buffalo ’66


Saint Jack


Ben & Gena on Opening Night


The Spanish Prisoner


End of a Love Affair




Anatomy of Murder


Phone Scene, Killing of a Chinese Bookie


Tales of Ordinary Madness 

Looking Back on Cinema’s Most Captivating Unhinged Women

“Even so, I must admire your skill. You are so gracefully insane,” says Anne Sexton’s poem “Elegy in the Classroom.” And throughout cinematic history we’ve seen countless characterizations of women on the verge of a nervous breakdown, in the throws of psychosis, or those who have completely lost their footing in the world. These roles—from Mabel Longhetti in John Cassavetes’ A Woman Under the Influence to Kirsten Dunst in Lars von Trier’s Melancholia—create poignant vehicles in which women can dive down into the depths of their own souls and bring forth some of the most incredible performances of their career.   

This weekend, Woody Allen’s latest summer film Blue Jasmine premieres, and for the myriad reasons why this is one of his best films in years, it’s undeniable that Cate Blanchett and the completely bewitching performance she gives is by far the most enticing part. In my review of the film, I said noted that: In the way that you felt exhausted—both physically and emotionally—after seeing Joaquin Phoenix’s performance as Freddie Quell in Paul Thomas Anderson’s The Master—the actor’s stamina in the role a marvel to watch—I left my screening of Blue Jasmine feeling more shaky and distressed than when I entered, my own anxiety and emotions unraveled by Blanchett’s bewitching performance.   

And as the best part of truly enjoying a film is to leave with that sort of strong physical reaction, we’ve decided to take a look back at some of the best unhinged female performances onscreen. From the terribly ill and psychologically possessed to those caught in the throws of everyday life’s small trauma, here are some of our favorites. Center your emotions and enjoy.

Gena Rowlands as Mabel Longhetti in A Woman Under the Influence

A housewife amidst an emotional breakdown who loves deeply but cannot express properly the pain within her heart.  


Béatrice Dalle as Betty Blue in Betty Blue

A volatile and highly-sexual woman who, after experiencing an emotional trauma, mentally unravels never to return.  


Julianne Moore as Linda Partridge in Magnolia

A pill-popping housewife who finally realizes her misdoings on her husband’s deathbed.    

Kirsten Dunst as Justine Melancholia

A manic depressive who finds herself finally at peace as the world comes to an end. 


Harriet Andersson as Karin in Through a Glass Darkly

A young woman recently released from the mental hospital suffers from hysteria on vacation with her husband and father.


Naomi Watts as Betty Elms / Diane Selwyn in Mulholland Drive

A possessed and devastated woman has become the shell of a person struggling to exist outside of a nightmare.


Ellen Burstyn as Sara Goldfarb in Requiem for a Dream

A lonely and self-conscious mother thinks she’s found the way to regain youth and admiration and loses her mind in the pursuit.


Isabella Rossellini as Dorothy Vallens in Blue Velvet

An emotionally unstable and horrifically frightened woman at the center of a murder.  


Bibi Andersson as Alma in Persona

A nurse put in charge of a mentally ill woman who finds their psyches melding into one.  

Gena Rowlands as Myrtle Gordon in Opening Night

An aging actress has an emotional and existential crisis after realizing her own morality and is haunted by the ghost of youth.


Candace Hilligoss as Mary Henry in Carnival of Souls

After a traumatic accident a woman is beckonded and possessed by an abandoned carnival.  

Elizabeth Taylor as Martha Who’s Afraid of Virgina Woolf

A mercurial aging woman in the throws of domestic turmoil.  


Charlotte Gainsbourg as She in Antichrist

A distressed, grieving woman goes to the woods with her husband and succumbs to the evils of nature.    

Margit Carstensen as Petra von Kant in The Bitter Tears of Petra von Kant

An absolutely shattered, selfish woman hopelessly in love with a woman whose affections have waned.   

Theresa Russell as Milena Flaherty in Bad Timing

A highly-emotional and volatile woman in love with a stoic man whose repressed urges push her away and lead her to a breakdown.


Julianne Moore as Carol White in Safe

An affluent housewives grows increasingly ill and falls prey to chemical sensitivity.  


Laura Dern as Nikki Grace / Susan Blue in Inland Empire

The world becomes a surreal nightmare when an actress adopts a persona.  

Juliette Binoche as Julie Vignon – de Courcy in Three Colors: Blue

A woman grieving the death of her husband and child.

Looking Back on the Love and Life of John Cassavetes

As an extremely passionate and fearless mad man whose talent continues to inspire, Cassavetes shed light on the human experience in a way that few have been able to do, blending brute force with delicate tenderness to deliver a raw and authentic sense of drama. He once said that, “The most difficult thing in the world is to reveal yourself, to express what you have to. As an artist, I feel that we must try many things—but above all we must dare to fail. You must be willing to risk everything to express it all.” And with that sentiment and the desire to shed light on love and the moments that bind us to one another and expose our true selves, he remains the “Godfather of American Independent cinema.”

So here’s a look back on his wonderful work, as well as interviews and documentary features that highlight the absolute wonder and genius of one of cinema’s most fascinating minds and hearts.



























From John Cassavetes to Terry Gilliam, Here’s What You Should Be Seeing This Weekend in NYC

By this time tomorrow, hopefully, you’ll find yourself out of the office and rolling around on a beach somewhere. If not a beach, perhaps a nice rooftop, relaxing with a cold cocktail, enjoying a rare Thursday untethered to your work space. You’ll indulge in one too many drinks, eat all the holiday BBQ, and come Friday when you’re back in the office you’ll wonder if the previous day of bliss was all a dream. But not to fear, as night rolls around and the weekend kicks off there are many dream worlds to enter—and I don’t mean through sleep, I mean through the cinema. Whether you’re looking to immerse yourself into a brilliant and bizarre world from the mind of Terry Gilliam or to cut yourself open and bear it all on the stage with John Cassavetes, there are myriad classic and beloved films playing around the city this weekend for you to enjoy. I’ve rounded up the best of what’s playing, so peruse the list and see what tickles your cinematic fancy. 

IFC Center

Berberian Sound Studio
Big Star: Nothing Can Hurt Me
Frances Ha
Jurassic Park
Museum Hours
Young Frankenstein


Opening Night Nostalghia 2001: A Space Odyssey Frances Ha Before Midnight The Dirty Dozen    


Before Midnight
The Bling Ring
Frances Ha
Metropolis (Anime) Hardbodies A Band Called Death The Longriders Ghostbusters    

Film Forum

Rosemary’s Baby
A Hijakcing
Singing Me the Songs That Say I Love You
12 Angry Men


Landmark Sunshine

I’m So Excited! Much Ado About Nothing The East Stuck in Love Indiana Jones and the Temple of Doom The Room    

Film Linc

Much Ado About Nothing A Life of Ninja Comrade Kim Goes Flying Forever Love Drug War The Last Supper Summer Talk: Crystal Fairy Woman Revenger

Early Summer’s Best: This Week on Hulu

If you spent your weekend frolicking around outdoors basking in the start of summer, it’s entirely understandable if your movie watching suffered as a result. But never to fear, with the huge host of Criterion Collection films available on Hulu, you can catch up on a lifetime’s cinematic education from the comfort of your bed. And this season, the collection will be highlighting a different film everyday as part of their 101 days of Summer. And although they’ve been making free some of the best and rare gems from Wim Wenders’ Alice in the Cities to Hiroshi Matsuno’s The Living Skeleton, their entire range of films on Hulu is truly nothing to be missed.

So this week, rather than simply illustrating what’s for fre,e I’ve rounded up some of the best films on available to watch on the site perfectly fit for summer viewings. From Chris Marker’s achingly wonderful Sans Soleil to John Cassavetes’ lens flared and color-drenched sizzler The Killing of  Chinese Bookie, there’s surely something new and brilliant to watch every night. Enjoy.

The Circus, Charlie Chaplin


Walkabout, Nicolas Roeg


The Living Skeleton, Hiroshi Matsuno

Alice in the Ctities, Wim Wenders


George Washington, David Gordon Green


Garlic is as Good as Ten Mothers, Les Blank


Secret Honor, Robert Altman


Yoyo, Pierre Etaix


Sans Soleil, Chris Marker


Chinese Roulette, RW Fassbinder


Daisies, Věra Chytilová’


Stranger Than Paradise, Jim Jarmusch



Scenes from a Marriage, Igmar Bergman


Pale Flower, Masahiro Shinoda


News From Home, Chantal Akerman



Elevator to the Gallows, Louis Malle


Wings of Desire, Wim Wenders


I Am Curious Yellow, Vilgot Sjöman


The Killing of a Chinese Bookie, John Cassavetes