Molly Haskell

Fading light: Gaspar Noé's latest provocation, Vortex, is an unflinching, exhilarating look the ravages of decline and death

Saddle sore: Jane Campion’s latest is lacking in the richly personal, idiosyncratic feminism of her great early films

Through a glass darkly: the critic finds strange exhilaration in a particularly daunting pair of movies

Out of the past: the critic reflects on moviegoing across the years and her enchantment with spectacle both big and small

Paul Mazursky’s An Unmarried Woman is the wry, graceful culmination of certain genre of 1970s cinema

Marco Bellocchio’s Sicilian saga unfolds under the looming shadow of mortality, of time running out for aging kingpins, and of debts coming due

A personal appreciation of the great actress, FSLC’s 1991 Chaplin Award Gala honoree

Julianne Moore's Gloria is an emblem of a single woman triumphantly navigating middle age

(Yorgos Lanthimos, Ireland/UK/USA, Fox Searchlight, Opening November 23)

(Gus Van Sant, USA, Amazon Studios, Opening July 13)

The marrying kind: what love means in this sumptuous adaptation of a Stefan Zweig novel

(Luca Guadagnino, Italy/France, Sony Pictures Classics, Opening November 24)

Beyond tough, Robert De Niro creates characters whose strange integrity fascinates and frightens us

A short remembrance by a friend and colleague

Hawks’ view of a world precariously divided between the male and female principles

Jennifer Aniston's turn as a cheerless, scarred woman pushes expectations of both her career and female performances

(Richard Glatzer & Wash Westmoreland, U.S., 2014)

The everlasting prime of an acting powerhouse who gracefully eludes definition yet is every inch a star