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Holy happy trail, Batman!” Stephen Colbert enthused, over an en-plein-air portrait of a shirtless and beaming Luigi Mangione, ...

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 ...

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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.

A new kind of prosthetic limb depends on carbon fibre and computer chips—and the reëngineering of muscles, tendons, and bone.

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