You’re reading The New Yorker’s daily newsletter, a guide to our top stories, featuring exclusive insights from our writers ...

The Brutalist,” the director’s nearly four-hour study of immigration, identity, and marriage, flowed from his own struggle to ...

The Criterion Channel, the foremost moveable source for art-house and repertory cinema, thrillingly expands its offerings ...

Follow @newyorkercartoons on Instagram and sign up for the Daily Humor newsletter for more funny stuff.

The family members regularly break into impressively harmonized, Osmond-family-level carol arrangements that they’ve clearly ...

It’s a big and bitter surprise to discover that Marielle Heller’s new film, “Nightbitch,” is, for the most part, excruciating ...

The director, whose latest film, “Oh, Canada,” opened this December, discusses four of his favorites.

On Chris Wray’s self-defenestration and the dilemma of being on the pugilistic President-elect’s target list.

Caroline Blackwood inspired paintings by Lucian Freud and poetry by Robert Lowell. Her own work has been unjustly forgotten.

Health insurers and hospitals increasingly treat patients less as humans in need of care than consumers who generate profit.

In a whirligig forty-two minutes, Carax combines his spectacular cinematic ambitions and his singular sense of style with ...

In his early prose narrative, “Monsieur Teste,” the great French poet created an alter ego even more aloof and elusive than ...