Features

Walking on water: A selection of newly restored films make clear the continuing relevance of the work of Lorenza Mazetti, a long-unheralded artist whose influential work is finally getting its due

Out of the past: in this recently unearthed interview, the master filmmaker shares his thoughts on working with actors, adapting fiction, the debatable necessity of originality, and much more

Physical graffiti: Yorgos Lanthimos’s Poor Things, starring Emma Stone as a reanimated dead woman, is a ribald, expertly designed, steampunk vision of feminist wish fulfillment—but is it any more than that?

Seeing is believing: a clinical approach to sound and spacial construction in Jonathan Glazer’s new film, The Zone of Interest, opens up important questions about the ethical implications of aesthetics

Smile through it: Nathan Fielder and Benny Safdie’s new series, The Curse, is a black-comedic minefield of mirrors, especially the metaphorical kind

With Yi Yi and A Brighter Summer Day in revival at Film at Lincoln Center, revisit this year-2000 essay on the films of Taiwanese master Edward Yang

Big plans: the latest from Ridley Scott, trailblazing auteur–turned–late-career journeyman, is an epic biopic of the war-mongering emperor that turns out to be a bit weirder than it initially seems

How Soon Is Now? The Killer, David Fincher’s latest entry in the canon of cinema du sociopath is a sleek, meticulously assembled film lives up to its punny tagline: “Execution Is Everything.”

Boo: premised on illusion and promising endless reanimation, cinema is often called the ghostliest of mediums, haunted by phantoms since its beginnings

Shutter speed: a new series at the Museum of Modern Art showcases a staggering range of Iranian films made before the revolution of 1979, including including films by Bahram Beyzaie, Amir Naderi, and Masoud Kimiai