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Adieu Philippine screens MoMA Film at 7 in A Theater Near You tribute to Florence Almozini and Film at Lincoln Center (which, last year, showed all of Jacques Rozier's features—still rare here): a word from a while ago on the film and its awkward place in its time... newyorker.com/culture/the-fr…

It's not rare at all. But this is best to do empirically: those I've watched most often, such as Masculine Feminine, A Letter to Three Wives, 42nd Street, The Gang's All Here, Bringing Up Baby, Saturday Night Fever.

I'd have sworn that I wrote about Kentucker Audley's first feature, Team Picture (playing tonight at Metrograph at 7 followed by his Q. & A.), but, it turns out, did so not freestandingly but nonetheless full of admiration: newyorker.com/culture/richar…

Robert Aldrich's Kiss Me Deadly stands out as the movie in which local, intimate, global, and aesthetic violence are most crucially and furiously linked and the symbolic elements reach unmatched heights; at MoMA Film at 7: newyorker.com/culture/richar… newyorker.com/goings-on-abou…

Davenport joins us for Q&As on opening night (7/18) with producer Colleen Cassingham (moderated by filmmaker Laura Poitras), on Sat, 7/19 (moderated by The New Yorker critic Richard Brody), and Wed, 7/23 (moderated by disability rights activist & author Emily Ladau).

Talked the other day about Afternoons of Solitude with a friend who wondered what's left to add about bullfighting after Hemingway's colossal Death in the Afternoon; answered that Serra finds what only the cinema can do and what writing, even Hemingway's writing, can't.

These Birds Walk is a terrific, immersive documentary in which the filmmakers, Omar Mullick and Bassam Tariq, share—and give cinematic form to—the subjects' passions and risks; at DCTV at 7, followed by a Q. & A. with them, moderated by Shaka King: newyorker.com/goings-on-abou…

Am I hallucinating? All of Jacques Rozier's features are now on the Criterion Channel at just the right time, because he is one of the great filmmakers of summer vacations, with their wild possibilities and poignant longings: newyorker.com/culture/the-fr…

The late Michael Roemer's antic, ironic, sadly tender, secular-metaphysical Jewish-gangster comedy The Plot Against Harry, nearly lost to history but woefully lost to its moment, tonight at Roxy Cinema New York at 7, in 35mm.: newyorker.com/culture/the-fr…

The Empire (2024, Bruno Dumont)

A timely reminder, with Pickpocket screening at Anthology Film Archives at 9, that Robert Bresson's films are utterly unassimilable—it took Bruno Dumont more than a decade to free himself from even trying (word x2: newyorker.com/goings-on-abou… newyorker.com/culture/richar…

Very sorry to read of the passing of Bernard Pruvost, who plays the fantastic Captain Van Der Weyden in Bruno Dumont's Li'l Quinquin, Coincoin, and The Empire and graces them with a singular touch of ingenuous lunacy: lesinrocks.com/cinema/mort-de…

Raoul Walsh's The Big Trail, from 1930—John Wayne's big trail starts here, at MoMA Film at 1, in 35mm. (not the original 70mm., alas): newyorker.com/goings-on-abou…

Also, Max Ophuls' final film, Lola Montès: whatever Lola wants, Lola gets (but can't keep, yet pays for it forever); also widescreen, also in 35mm., at Metrograph at 2:10pm (word x2: newyorker.com/culture/richar… newyorker.com/goings-on-abou…

Also, Max Ophuls's final film, Lola Montès: whatever Lola wants, Lola gets (but can't keep, yet pays for it forever); also widescreen, also in 35mm., at Metrograph at 2:10pm (word x2: newyorker.com/culture/richar… newyorker.com/goings-on-abou…

Not to overlook: Good Morning, one of Ozu's most original films (like most great directors' self-remakes), in which he aims his sharp critical arrows at both sides of the generation gap; at BAM Film at 4:30pm (word x2: newyorker.com/goings-on-abou… newyorker.com/culture/richar…

Fond July 4, 2003 memory:

Godard and Miéville's Numéro Deux was and wasn't a shock when it played at the Bleecker Street Cinema in the first Cahiers du Cinéma week in 1977; the continuities were more apparent: I hadn't seen the Dziga Vertov Group films, from which it was the reawakening; MoMA Film 1:30pm.