Two new biographies of “Old Stone Face” and his remarkable cinematic career....

Meghan Gilligan reflects on how the empathetic characters of Mike Mills’s films, striving to connect, have helped her to communicate with those closest to her....

Julia Sirmons considers the long-running relationship — at times rivalry — between theater and cinema through the lens of Joel Coen’s “The Tragedy of Macbeth.”...

Matthew Eng recalls Abbey Lincoln’s intertwining legacies as singer, actress, and Black radical....

Matt Hanson interviews podcaster Karina Longworth on her latest season of “You Must Remember This.”...

Is Julia Ducournau’s “Titane” feminist?...

On the heels of Kristen Stewart's Oscar nomination for Spencer, Soraya Roberts dives into the trouble of styling Princess Diana ...

Telling the story of “Dune” requires more than just a desert setting and the occasional Islamic reference....

Mieko Anders uncovers traces of Afro-Asian collaboration in Wes Anderson’s “The French Dispatch.”...

Adèle Cassigneul compares two recent monographs on the landmark feminist film “Wanda” (1970)....

Kaya Genç analyzes the body of work of Turkey’s foremost contemporary filmmaker, Nuri Bilge Ceylan, through the lens of a recent academic monograph....

Ryan Coleman considers the anguished, queer theology behind Jane Campion’s “The Power of the Dog.”...

Sam Kahn looks back at “Assa,” the 1987 cult film that put Soviet rock on the map. Its director, Sergei Solovyov, died on December 13, 2021....

The new Academy Museum of Motion Pictures is not a reliquary but a marquee....

Holly Willis examines Fireflies Press’s journal and monograph series as artifacts of contemporary cinephilia....

Matthew Tchepikova-Treon situates “Sweet Sweetback’s Baadasssss Song” in its cultural zeitgeist....

Eugene Kwon examines how Hamaguchi Ryusuke thematizes traitorous adaptation in “Drive My Car,” a film reimagining of the short story by Murakami Haruki....