George Lucas’s Red Tails, Agnieszka Holland’s In Darkness.

Stephen Daldry’s Extremely Loud and Incredibly Close, Wim Wenders’s Pina.

Martin Scorsese’s Hugo.

Why does Errol Morris cling to a model of documentary photography eighty years out of date?

José Luis Guerín’s In the City of Sylvia, Tanya Hamilton’s Night Catches Us, Martin Scorsese’s New York, New York.

Jem Cohen’s Newsreel No. 1, Aki Kaurismäki’s Le Havre, Andrew Niccol’s In Time

The forty-ninth edition of the New York Film Festival.

George Clooney’s The Ides of March, Danfung Dennis’s Hell and Back Again, Luc Côté and Patricio Henriquez’s You Don’t Like the Truth: 4 Days Inside Guantánamo.

Steven Soderbergh’s Contagion, Göran Hugo Olsson’s Black Power Mixtape 1967–1975, Tate Taylor’s The Help

Jane Campion reconsidered.