Imogen Sara Smith

Blues for the Iron Curtain: Cold War and Red Boogie

October 30, 2018

Chill wind blows: Pawel Pawlikowski's latest film shares points of romantic and musical comparison with a film by Karpo Godina

Ghosts and Replicas: Bisbee ’17 and Museo

By Imogen Sara Smith

September 20, 2018

Once more with feeling: one hybrid film and one fiction film look at the reenactment and preservation of contentious pasts

The Liberation: Jacques Becker and Memoir of War

By Imogen Sara Smith

August 28, 2018

Scenes between the scenes: the brilliant French director of Edouard and Caroline and Rendezvous in July deserves a place on par with the New Wave that followed

Beautiful Work: The Female Gaze in Beau Travail, La France, and The Romance of Astrea and Celadon

By Imogen Sara Smith

July 24, 2018

The way I see it: a series on female cinematographers at the Film Society of Lincoln Center invites a closer look at how we look

Hard Traveling: Araby, Gabriel and the Mountain, and Vagabond

By Imogen Sara Smith

June 22, 2018

Miles to go: two clear-eyed new films of people on the move follow in the footsteps of Varda’s story of a drifter

Word Pictures: The Day After, with The Seagull and On Chesil Beach

By Imogen Sara Smith

May 24, 2018

Wrapped up in books: the different levels of narrative and time in a trio of tales about lovelorn men

Cities and Exiles: In the Last Days of the City and Art of the Real x 2

By Imogen Sara Smith

April 24, 2018

No home movie: three films that confront the realities of displaced people in very different situations

Feeling at Home: Our House, Drift, and Western

By Imogen Sara Smith

March 29, 2018

Faces places: two New Directors films and Grisebach’s latest rethink how people relate to the spaces they’re in

In Our Time: Abbas Kiarostami’s 24 Frames

By Imogen Sara Smith

February 6, 2018

Moving stills: Abbas Kiarostami’s final film expresses the beauty of the medium and its status as memento mori