The Nation's film critic Stuart Klawans is author of the books Film Follies: The Cinema Out of Order (a finalist for the 1999 National Book Critics Circle Awards) and Left in the Dark: Film Reviews and Essays, 1988-2001. His film criticism and reviews for The Nation won the 2007 National Magazine Award. When not on deadline for The Nation, he contributes articles to the New York Times and other publications.
Half a century has passed since Manny Farber wrote in these pages about underground films, by which he meant the urban crime movies watched by male loiterers near the Greyhound station, in theate
The Chilean coup of 1973 was carried out with a Lone Ranger comic book, a bicycle and several cans of condensed milk.
Martin Scorsese's The Aviator overlays three legends, all of them made of celluloid.
Michelangelo and Ulysses came home from the war with knapsacks bulging, bearing the reward for hardships suffered and inflicted. "We promised you the world," the soldiers boasted to their wives.
In the players' handbooks that once circulated among commedia dell'arte troupes, the wandering actors of early modern Italy used to set down inventories of the lazzi, or comic turns
Throughout the four decades of his great career--which is the same thing as saying, throughout the history of filmmaking in sub-Saharan Africa--Ousmane Sembene has switched back and forth between
Fussing repetitively with a lock of blond hair, nervously flashing an incomplete set of front teeth, the figure on screen begins to cough up her "testimony" in the accents of a Southern trailer c
One of South America's most brilliantly talented filmmakers has made a political road movie: the story of a young man who sets out on a journey of discovery and self-discovery through his vast co
It was the perfect setup for an op-ed article: the release, between the Democratic and Republican conventions, of Alien vs.