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tnyfrontrow.bsky.social
@tnyfrontrow.bsky.social
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tnyfrontrow.bsky.social
Edward G. Robinson has a feast playing the tragic peacock in Howard Hawks's Tiger Shark alongside the calm swooper Richard Arlen, about whom there's a story: he was an actor my mother liked, hence...; on @tcmtv.bsky.social at 10:45pm:
www.newyorker.com/goings-on-ab...
Tiger Shark
www.newyorker.com
November 9, 2025 at 9:09 PM
tnyfrontrow.bsky.social
A fun and substantial large-scale series is coming to @anthologyfilm.bsky.social starting next Saturday: Avant-Garde Ads: Part 1, with far more illustrious work than could fit into this word in Goings On (scroll down:
link.newyorker.com/view/5bea068...
Goings On Newsletter
link.newyorker.com
November 8, 2025 at 10:22 PM
Reposted
labuzamovies.com
Huge news for John M. Stahl-heads. ONLY YESTERDAY, the pre-code version of LETTER FROM AN UNKNOWN LETTER, has finally been restored by Universal and will premiere on DCP in December in LA. The film has only been available on 35mm prints and awful VHS rips.
November 7, 2025 at 9:14 PM
tnyfrontrow.bsky.social
One of the wildest, most painful inside-Hollywood movies, Josef von Sternberg's The Last Command, from 1928, stars Emil Jannings, a tormented titan who inspired Lubitsch and Murnau, too); at @filmforumnyc.bsky.social at 8 w/live piano accompaniment by Steve Sterner:
www.newyorker.com/goings-on-ab...
The Last Command
www.newyorker.com
November 6, 2025 at 4:21 PM
tnyfrontrow.bsky.social
After seeing Peter Hujar's Day at NYFF, I rewatched it (opens 11/7 @filmforumnyc.bsky.social & @lincolncenter.bsky.social) and it's even richer, more complex; Ira Sachs subtly and movingly turns what could have been a mere reënactment into a multilayered experience: www.newyorker.com/culture/the-...
“Peter Hujar’s Day” Gives the Past a New Life
Ira Sachs’s film, starring Ben Whishaw as the renowned photographer and Rebecca Hall as his interviewer, is a personal memorial for the protagonist and his milieu.
www.newyorker.com
November 6, 2025 at 1:24 AM
Reposted
midcenturycinema.bsky.social
BOTD Sam Shepard!!
Legendary playwright also a Bob-affiliate: pitchfork.com/thepitch/sam...
W, star, in Wenders' Don't Come Knocking - @tnyfrontrow.bsky.social: newyorker.com/culture/rich...
More:
@justincchang.bsky.social: www.latimes.com/entertainmen...
Patti: www.newyorker.com/culture/cult...
My Buddy: Patti Smith Remembers Sam Shepard
”Our ways could not be defined or dismissed with a few words describing a careless youth. Sam Shepard and I were friends; good or bad, we were just ourselves.“
www.newyorker.com
November 5, 2025 at 8:09 PM
tnyfrontrow.bsky.social
Vive la France today, with Jacques Tati's Trafic at @anthologyfilm.bsky.social at 7 (members only), a farewell to M. Hulot, and the philosopher of cinema Jean-Pierre Gorin's second solo feature, Routine Pleasures, at 8:30 at
Brooklyn Center for Theatre Research: (links below:
November 5, 2025 at 4:11 PM
tnyfrontrow.bsky.social
Great to read that Carol & Joy, Nathan Silver's terrific new documentary, has been acquired by Janus Films and will be on @criterionchannl.bsky.social starting Dec. 1 (i.e. what counts, for a short—and for independent films—as wide release):
variety.com/2025/film/ne...
Janus Films Acquires Nathan Silver’s ‘Carol & Joy,’ Plans Oscar Campaign for Natalie Portman-Backed Short Doc on Actress Carol Kane and Her Mother (EXCLUSIVE)
Janus Films has acquired Carol & Joy and is planning an Oscar campaign for the Natalie Portman-backed short on actress Carol Kane and her mother
variety.com
November 4, 2025 at 6:38 PM
tnyfrontrow.bsky.social
Die My Love has a great cast that's left to flail by writing and direction that veer from informational (and not much of that, either) to sensationalistic; the silencing of its protagonist is a terrible misjudgment: 
www.newyorker.com/culture/the-...
“Die My Love” Is Smaller Than Life
Jennifer Lawrence and Robert Pattinson exert themselves strenuously to give this fervent drama of marriage and motherhood a semblance of reality.
www.newyorker.com
November 4, 2025 at 4:14 PM
tnyfrontrow.bsky.social
Terrific news: Life After is now streaming,on @pbs.org and YouTube.
tnyfrontrow.bsky.social tnyfrontrow.bsky.social @tnyfrontrow.bsky.social · Jul 19
Not to miss: Reid Davenport's Life After, a fervent and meticulous blend of investigative journalism, personal documentary, and political analysis and advocacy; honored to do a Q. & A. with him and the producer Colleen Cassingham at @filmforumnyc.bsky.social after tonight's 7:10pm screening...
November 4, 2025 at 3:06 PM
tnyfrontrow.bsky.social
Jonathan Lethem's piece in @nybooks.com on One Battle After Another is brilliant—and revealing. He calls the film politically incoherent; I think the opposite: it clearly debunks the myth and fantasy of small-group revolution in favor of community-based, direct-assistance activism...
November 3, 2025 at 9:30 PM
tnyfrontrow.bsky.social
Jerry Lewis's supreme directorial extravagance, The Ladies Man, with a Tati-like set tweaked for the titillation and temptation of a secular monk in a secular convent, at @moma.bsky.social at 1: www.newyorker.com/culture/rich...
www.newyorker.com/goings-on-ab...
DVD of the Week: The Ladies Man
www.newyorker.com
November 2, 2025 at 4:54 PM
tnyfrontrow.bsky.social
Howard Hawks's Bringing Up Baby temporarily out-Freuded Lubitsch (That Uncertain Feeling retook the lead); @tcmtv.bsky.social at 8, but it should be illegal to show it without his self-remake Man's Favorite Sport?; word x3...
www.newyorker.com/culture/rich...
www.newyorker.com/goings-on-ab...
Bringing Up Baby: “It’s Fatal!”
www.newyorker.com
November 1, 2025 at 11:16 PM
Reposted
midcenturycinema.bsky.social
11/1/66: Jean Pierre Melville's Le Deuxième Souffle kicks off #noirvember [W José Giovanni]
w/Mr. Lino Ventura, Paul Meurisse 🙏 ++
More
@tnyfrontrow.bsky.social: www.newyorker.com/culture/rich...
Us midcenturycinema.org/2016/11/02/5...
@alanzilberman.bsky.social: spectrumculture.com/2021/11/18/o...
Oeuvre: Melville: Le Deuxième Soufflé - Spectrum Culture
This 1966 crime drama does not get the same attention as Melville’s major pictures , but it moves with confidence, never wavering from an admirable purity that deserves celebration.
spectrumculture.com
November 1, 2025 at 4:01 PM
tnyfrontrow.bsky.social
Noting that The Tree of Life is playing today at @movingimagenyc.bsky.social at 1 in 35mm., recalling the shock that it gave to the cinematic system; in his sixties, Terrence Malick made a second first film (word x2:
www.newyorker.com/culture/rich...
www.newyorker.com/culture/rich...
The Tree of Life: Roots and Shoots
www.newyorker.com
November 1, 2025 at 3:37 PM
tnyfrontrow.bsky.social
In honor and memory of David Bellos, the author of a superb biography of Jacques Tati (plus ones of Georges Perec and Romain Gary, which I haven't read), at the age of eighty.
October 31, 2025 at 9:44 PM
tnyfrontrow.bsky.social
Happy Ghost Apostrophe Day from the People of the Diaeresis:
www.newyorker.com/magazine/192...
www.newyorker.com
October 31, 2025 at 6:47 PM
tnyfrontrow.bsky.social
Short word on the horrific greatness of Carl Theodor Dreyer's Vampyr, a horror movie neither following nor transgressing genre conventions—simply transgressive in ways that restore the word's primal force; on @tcmtv.bsky.social 7am and @criterionchannl.bsky.social :
www.newyorker.com/culture/the-...
The Best Horror Movies for Halloween—Without the Gore
These ten films suggest the extremes of experience that are evoked by the very effort to explore the supernatural, the haunted, the tormented, the dreadful, both outward and within.
www.newyorker.com
October 31, 2025 at 5:54 PM
Reposted
midcenturycinema.bsky.social
10/30/91: Maurice Pialat's Van Gogh
w/Jacques Dutronc, Alexandra London, Bernard Le Coq
More:
@tnyfrontrow.bsky.social: www.newyorker.com/goings-on-ab...
@evillights.bsky.social: cinemasparagus.blogspot.com/2015/10/van-...
@railoftomorrow.bsky.social: criterioncast.com/reviews/blu-...
October 30, 2025 at 6:36 PM
tnyfrontrow.bsky.social
Marta Mateus's first feature, Fire of Wind (which opens Friday at @anthologyfilm.bsky.social) is a daringly imaginative work of political cinema—and part of a great modern tradition: 
www.newyorker.com/culture/the-...
“Fire of Wind” Is a Bold and Inspired Début
The first feature by the Portuguese filmmaker Marta Mateus, featuring nonprofessional actors in natural settings, explores and expands modern traditions of political cinema.
www.newyorker.com
October 30, 2025 at 10:13 AM
Reposted
midcenturycinema.bsky.social
10/29/63: Godard's Contempt [DP Raoul Coutard]
w/Michel Piccoli, Brigitte Bardot, Jack Palance, Fritz Lang
Peak JLG
@mrbeaks.bsky.social: www.slashfilm.com/1007193/jean...
@mdconterio.bsky.social: cine-vue.com/2016/01/film...
@tnyfrontrow.bsky.social: www.newyorker.com/culture/rich...
Hawks and Godard and “Contempt”
www.newyorker.com
October 29, 2025 at 5:14 PM
tnyfrontrow.bsky.social
Hedda is now streaming on Amazon Prime Video, which is its wide release; it's terrific and, while I wish it had a long theatrical run (I saw it twice on the big screen—it's even better the second time), hard to imagine it even existing without a streamer's backing.
www.newyorker.com/magazine/202...
Nia DaCosta’s “Hedda” Shoots Straight
This compelling adaptation of Ibsen’s classic play, starring Tessa Thompson and moving the action to nineteen-fifties England, expands and arguably deepens the original.
www.newyorker.com
October 29, 2025 at 3:56 PM
tnyfrontrow.bsky.social
Seeing heist movies mentioned; not seeing one of the wildest, most fanatically precise, and saddest mentioned: Thunderbolt and Lightfoot.
October 29, 2025 at 7:00 AM
tnyfrontrow.bsky.social
Terrific memorial in @nouvelobs.com by Guillaume Louet of Philippe Collin's extraordinary activities—including his many years as critic for Elle, plus Truffaut's famous quote: "...I have to admit that a negative review by Philippe Collin or Pauline Kael brings up deeper ideas than a positive one
October 29, 2025 at 3:36 AM
tnyfrontrow.bsky.social
Nietzchka Keene's The Juniper Tree, based on a Brothers Grimm tale, starring Björk, filmed in 1986, shown at Sundance in 1990, hardly seen until 2019—another great film nearly lost to indifference, another career thwarted; tonight at Nitehawk Williamsburg at 7:
www.newyorker.com/goings-on-ab...
The Juniper Tree
www.newyorker.com
October 28, 2025 at 4:26 PM