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.
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.
More than once in Jonathan Demme's reimagining of The Manchurian Candidate, a distraught Denzel Washington jabs at his skull and rasps, "They got in here." He means it literally.
I paid to see Will Smith fight legions of robots, and what I got was a trip back to Wabash Street.
Like many intelligent women of advanced political beliefs, Celine detests the ideology of the soulmate.
Not the judgment of film critics but the passage of time will decide whether Michael Moore's Fahrenheit 9/11 can change the world. Change, of course, is the whole purpose.
When you go to the Human Rights Watch International Film Festival, you expect the screen to be a window onto the world.