On Nov. 27, renowned Italian-American filmmaker Martin Scorsese — known for films including “Goodfellas,” “Taxi Driver,” “The Departed” and “The Wolf of Wall Street”— made his Netflix debut with his newest film “The Irishman.”
The South Korean film “Parasite” has continued to shock audiences across the globe ever since it won the Palme d’Or award at the May 2019 Cannes Film Festival.
Last week, the Center for Language Studies’ “Foreign Flicks” series screened “In the Mood for Love,” an atypical Chinese drama-romance whose brazen, erotic commitment to traditionalism prompts audiences to reconsider the role fidelity plays in modern love.
When Distinguished Senior Lecturer in German Studies Jane Sokolosky was named the new director of the Center for Language Studies this past June, she decided that she wanted to give students the ability to access languages in a “study break, daily routine, casual” sort of way.
“Searching,” the debut film of director Aneesh Chaganty, opens up by presenting a very Silicon Valley family in a very Silicon Valley way.
In the first scene of “A Quiet Place,” the new film from actor and director John Krasinski ’01, a family tiptoes around an abandoned general store to gather a few necessities.
“The 15:17 To Paris,” Clint Eastwood’s new film about the true story of three Americans who stopped a terrorist attack on a train in the summer of 2015, rests on a central conceit.
“Call Me By Your Name,” which was adapted from a 2007 novel, directed by Italian director Luca Guadagnino, promises to pander to audiences with its premise of a gay love story, a theme that has yet to be fully developed in American cinema. But in reality, only the mesmerizing aesthetics […]
Todd Haynes’ “Wonderstruck” is a film of sounds and images, where feelings and ideas reverberate from color and light, smiles and glances, music and art.
“Beach Rats” is a stirring mood piece and a fine addition to director Eliza Hittman’s burgeoning body of works.
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