Richard Brody

A new biography of this crucial New York filmmaker, whose work confronts racial and economic divisions, reveals her furiously inventive activity away from public view.

Struggles for personal and creative freedom fuel Shatara Michelle Ford’s “Dreams in Nightmares,” a loving, political drama about three women’s search for a friend gone missing.

Rob Tregenza’s new film, “Fast”—96 minutes of cinema made in rural Virginia with no more than a few dozen long takes and a small batch of main characters—dazzles the mind and delights the eye, Richard Brody writes.

The kerfuffle over Christopher Nolan’s fidelity to Homer’s Odyssey reflects major questions in the history of cinema.

Jane Schoenbrun’s latest film, which follows a celebrated young filmmaker tapped to reboot an old horror franchise, is a cinematic manifesto that examines how art can inspire both love and fear.

The Venezuelan director Lorena Alvarado’s first feature film, “ Lost Chapters,” starring her own relatives, connects a young woman’s homecoming and her artistic ambitions.

Christopher Nolan’s Homer adaptation presents a modern, relatable Odysseus, rather than trying to understand the ancient world on its own terms.

“Remake” Confronts a Father’s Grief and a Filmmaker’s Responsibility

Before he had any interest in movies, Rohmer was a writer, and his 1946 début is a fine-grained vision of small-town lives in prewar France.

“Couture,” starring Angelina Jolie as a movie director, treats the Paris fashion world as a backdrop for medical and domestic crises.