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While the HBO adaptation of Ray Bradbury's 1953 dystopian novelFahrenheit 451underperformed when it was initially released, the film is now finally seeing some success on streaming.

Per FlixPatrol, Fahrenheit 451 now ranks as the #10 most streamed film on HBO in the United States as of Aug. 1. The film falls just behind A Minecraft Movie at #9 and is also the second Michael B. Jordan film on the chart, with Sinners claiming the #2 spot. The TV movie directed by Ramin Bahrani, best known for 99 Homes, stars Jordan as Guy Montag, a "fireman" whose job is to burn books. The 2018 adaptation came about over fifty years after the 1966 version, directed by François Truffaut and starring Julie Christie, Oskar Werner, and Cyril Cusack.

Fahrenheit 451 (2018) follows Guy Montag, a fireman living in Cleveland working under Captain Beatty (Michael Shannon). As a Fireman, Guy must burn books that have been banned in the United States.

The legendary Alfred Hitchcock is one of the most revered filmmakers of all time. Hitchcock crafted some of the most iconic scenes in cinema history, including the dramatic crop duster chase in "North by Northwest" and the chilling shower murder in "Psycho." Beginning his career in the early days of cinema, without a wealth of cinematic classics to look to for inspiration, Hitchcock was a pioneer. He developed new narrative techniques to tell stories on film, paving the way for generations of filmmakers to follow.

Hitchcock's film career spanned over half a century. Some of his first roles in the industry were as a title designer or an art director on other filmmakers' movies, many of which have since been lost. The earliest movie actually directed by Hitchcock that modern audiences can still enjoy is 1925's "The Pleasure Garden," a silent drama based around the Pleasure Garden Theatre in London.

When François Truffaut made his feature directorial debut with “The 400 Blows” in 1959, it quickly became an international sensation and the French New Wave’s first smash hit. Along with Jean-Luc Godard‘s “Breathless,” it established many of the conventions for which the French New Wave would become known: documentary-style location shooting, playful experimentation with editing and film form, and most importantly, a direct connection between the filmmaker’s personality and the action on screen.

Many of the New Wave directors aspired to theorist Alexandre Astruc’s dream of using the film camera as intimately and personally as a writer uses a pen, but few realized that dream and its possibilities with as much artistic success as Truffaut. Anyone with even a cursory awareness of the director’s biography can see the direct link between him and “The 400 Blows” hero Antoine Doinel, a 14-year old constantly at odds with...

As quarter-life crises go, the one experienced by tousle-haired musician Nicolau in “The Luminous Life” looks more endurable than most. Yes, he’s unemployed, living at home, recently broke up with his dream woman and is firmly convinced that he’ll never love that way again — but it’s spring in Lisbon, the city’s sidewalks, bars and cinemas are alive with social possibilities for an affable, handsome young lad such as he, and he’s not about to miss out on all of them. Which is to say the title of Portuguese director João Rosas’ debut feature isn’t at all ironic: This droll, delightful romantic comedy is an ode to the good times that can be had amid and around heartache, and the healing that eventually comes out of that very conflict.

To most viewers, Nicolau — played with irresistible, lightly goofy guilelessness by Francisco Melo — will be a welcome new acquaintance.

Though it didn’t inaugurate the French New Wave, François Truffaut’s 1959 debut feature, The 400 Blows, did herald the true arrival of the movement, netting the critic turned filmmaker a best director award at the Cannes Film Festival and rave reviews around the globe. Drawing heavily from his own childhood, as well as inspiration from Italian neorealism and 1950s Hollywood melodramas such as Rebel Without a Cause, Truffaut charts the antics of bright but unruly misfit Antoine Doinel (Jean-Pierre Léaud), who, without a sense of purpose, consistently gets into trouble with teachers and his parents.

Truffaut’s kinetic and restless camera style is keyed to the boundless energy of youth, and even the most carefully blocked and framed shots have a feel of spontaneity to them. But The 400 Blows ultimately belongs to Léaud. Flashing hints of innocence and yearning that recall James Dean’s smoldering intensity, the 14-year-old...

"There must be something in books, something we can't imagine, to make a woman stay in a burning house; there must be something there. You don't stay for nothing."

These words from Ray Bradbury's fiery, prophetic "Fahrenheit 451" underline our innate connection with literature and how instinctual it is to want to protect such artistic legacies. In this 1953 book, Bradbury's America is a dystopian one, where all books are outlawed and burned by firemen, who exist to eradicate any ideas that are deemed dangerous by an authoritarian state. One such fireman, Guy Montag, gradually realizes that book burning cannot exist in a vacuum — it is an act that actively enforces censorship and infringes upon individual and collective freedom. Distressed and disillusioned by his contribution to such a ghoulish practice, Guy quits his job and decides to do everything in his power to preserve books and the precious literary worlds they contain.

When Richard Linklater set off to direct “Nouvelle Vague,” a black-and-white tribute to Jean-Luc Godard that charts the making of his debut film “Breathless,” the Oscar-nominated American director spared no details. He recreated the 1959 classic’s Parisian setting, lighthearted mood and three-way chemistry between the two leads and their director – played by Jean Seberg, Jean-Paul Belmondo and Godard lookalikes: Zoey Deutch, Aubry Dullin and Guillaume Marbeck.

While speaking about the film at Biarritz’s Nouvelle Vague Festival where his latest film played on opening night this week, Linklater and “Nouvelle Vague” producer Michele Halberstadt said that everything seen in the film — which had a rapturous world premiere in competition at Cannes — happened in real life. New Wave film buff Linklater did extensive research alongside Halberstadt, who knew Godard well throughout her career in journalism. Halberstadt one point headed Premiere magazine in France before launching her production and distribution company Arp Selection...

Many a True Word Has Been Screamed in Jest Over 800,000 people have laughed at the viral YouTube parody Leaked Wes Anderson Meltdown on Set, where a faux version of the famously composed director rants on the other end of the phoneline: “If it’s not going to be symmetrical, it’s not going in the f***ing movie!” The clip is completely manufactured- but, like all satire, funny because it’s true. Wes Anderson’s signature symmetry has become more than a visual preference; it’s an artistic law in his filmography. As the saying goes, “Many a true word is spoken in jest.” The meltdown video is satire, yes- but it also speaks to a deeper artistic tension. What happens when a filmmaker becomes a brand? When style starts to dictate substance? That’s what makes the video so funny. It taps into the unspoken truth of Wes Anderson...

After countless misfires and successive rejiggings of its committee, France came close to winning its first Oscar for best international feature in over three decades with Jacques Audiard’s “Emilia Perez.” But in a last-minute twist worthy of a movie, “Emilia Perez’s” chances of winning the statuette evaporated following the scandal surrounding Karla Sofia Gascon’s offensive tweets. Ultimately, nothing could stop Brazil from winning with Walter Salles’ heartfelt family saga “I’m Still Here.”

France’s misfortune in this category has often been blamed, among other things, on the abundance of French films to choose from, hence the large margin of error. And it appears that France will once again face an embarrassment of riches and some heated discussions within its selection board.

At this point, no films have been submitted for consideration, but the most likely candidate and probable frontrunner is “Nouvelle Vague,” Richard Linklater’s homage to...

Exclusive: Richard Linklater’s love letter to the New Wave Nouvelle Vague has sold to more than 20 theatrical distributors worldwide for Goodfellas following its buzzy Cannes premiere, as one of four French majority productions in Competition this year.

They join Paris-based distributor Arp Sélection which will release the film in cinemas in France on October 8 on 500 screens, having produced the film under the banner of Arp Production with Linklater’s Austin-based Detour Film.

The French-language production about the making of Jean-Luc Godard’s 1960s New Wave classic Breathless has sold out in Europe for Paris-based sales company Goodfellas.

It has unveiled deals to Benelux (Cherry Pickers), the UK & Ireland (Altitude), Switzerland (Filmcoopi), Germany, (Plaion), Spain (Elastica Films), Greece (Cinobo), Italy (Lucky Red /Bim), Portugal (Alambique), Scandinavia (TriArt Film), Ex-Yugoslavia (McF Megacom), Romania (Independenta), Baltics (Scanorama) and Cis (Mjm Group).

In the rest of the world, it has been acquired for...

Luca Guadagnino continues his visionary stamp of approval on rising artists — like Sundance Grand Jury Prize winner Hailey Gates’ “Atropia” or recent arthouse favorite “April” from director Dea Kulumbegashvili — with another festival favorite newcomer. Giovanni Tortorici, who brought his writing/directing feature debut “Diciannove” to the Venice Horizons section last year, is Guadagnino’s latest find. And he’s about the U.S. audiences’ find, too, as this restless coming-of-ager about a reckless young man is coming to stateside theaters on July 25. IndieWire shares the exclusive trailer. Watch in the video above.

Here’s the synopsis: “A bold, brash and unflinching coming-of-age drama, ‘Diciannove‘ (the film’s title translates to ‘nineteen’ in Italian) follows the highs and lows of a restless youth as it collides headlong into the concrete realities of adulthood when Leonardo (Manfredi Marini), a teenager from Palermo leaves home for the first time. His studies land him in Siena,...

Richard Linklater’s latest film, Nouvelle Vague, has found a home, with Netflix purchasing the rights for $4 million. That deal, according to Deadline, is the highest-ever domestic plan for a French-language film. Ooh la la!

Nouvelle Vague is undoubtedly a love letter to cinema, as Richard Linklater chronicles the making of 1960’s Breathless, which wasn’t only Jean-Luc Godard’s debut film but also changed the landscape of international film through its innovative use of camerawork, sound and editing, most notably seen in its famed jump cuts.

To bring the production of Breathless (À bout de souffle) to life in Nouvelle Vague, Linklater recruited Guillaume Marbeck to play Goard, Zoey Deutch as lead Jean Seberg and Aubry Dullin as star Jean-Paul Belmondo. There, too, are a number of other iconic international figures featured in Nouvelle Vague, including cinematographer Raoul Cotard (Matthieu Penchinat), along with fellow French New Wave directors François Truffaut...

Marcel Ophuls, the renowned, Oscar-winning documentarian whose controversial and epic “The Sorrow and the Pity” was a worldwide success, has died. He was 97.

His death was reported to the New York Times by his grandson, Andreas-Benjamin Seyfert, who provided no details concerning the circumstances of the death.

Ophuls, the son of famed German and Hollywood film director Max Ophuls, often claimed that he was a prisoner of his success in the documentary field when what he really wanted was to make lighthearted musicals and romances. But his exhaustive “The Sorrow and the Pity,” about French complicity with their Nazi occupiers during WWII, elevated the film documentary in the public eye. His further explorations of the war in Northern Ireland (“A Sense of Loss”), the Nuremberg war crime trials (“The Memory of Justice”) and the notorious Nazi war criminal Klaus Barbie (“Hotel Terminus”) added immeasurably to the documentary field. Ophuls mixed period footage and incisive,...

Famed documentarian Marcel Ophuls has died at age 97. One of the leading filmmakers to capture the political atrocities of the 20th century, Ophuls famously directed “The Sorrow and the Pity” and the Oscar-winning “Hôtel Terminus: The Life and Times of Klaus Barbie,” both depicting the rise of the Nazi regime.

Ophuls “died peacefully” on Saturday, May 24, as his grandson Andreas-Benjamin Seyfert confirmed to The Guardian on Monday, May 26. Ophuls was born to German filmmakers, director Max Ophuls, and his wife, actress Hildegard Wall. At age 11, the Ophuls family fled France after Germany was invaded by the Nazis; they later settled in Hollywood. Ophuls served in the U.S. army theatrical unit in Japan for WWII in 1946.

Ophuls later returned to France and worked as an assistant to his father and other filmmakers such as Julien Duvivier and Anatole Litvak. He also famously was an Ad on John Huston’s “Moulin Rouge...

Marcel Ophuls, the Oscar-winning, German-born French filmmaker whose powerfully eloquent documentaries confronted difficult political, moral and philosophical issues, has died. He was 97.

Ophuls “died peacefully” at his home in the south of France, his grandson Andreas-Benjamin Seyfert told The Hollywood Reporter.

Ophuls earned his Academy Award — as well as prizes from the Cannes and Berlin film festivals— for Hotel Terminus (1988), a 4-hour, 27-minute documentary that examined the life of the notorious Klaus Barbie, convicted in Bolivia of his Nazi war crimes in 1987.

Ophuls’ best known work, however, came almost two decades earlier with The Sorrow and the Pity (1969), which explored the reality of the Nazi occupation in the small industrial French city of Clermont-Ferrand.

Ophuls spent more than two years compiling the more than 60 hours of footage that was eventually boiled down to that 4-hour, 11-minute film, which delineated France’s compliance with Nazi Germany. (Some in the country supported...

“Nouvelle Vague” is not like any other movie you’ve seen. It’s not a prequel, sequel, or remake of Jean-Luc Godard’s debut film “Breathless” (“À Bout de Souffle”). It’s not a documentary about the making of the film, nor is it based on any known IP. You could conjure memories of the fictional “Day for Night,” from Godard’s fellow Cahiers du Cinéma critic and French New Wave member François Truffaut, which takes place on a movie set, or the recent Paramount series “The Offer,” which chronicles the production of “The Godfather” from the Pov of producer Al Ruddy (Miles Teller). Some have compared Linklater’s ensemble of icons from French cinema to Woody Allen’s ex-pat literary figures from “Midnight in Paris.”

The fact that Richard Linklater wanted to recreate the 1959 filming of “Breathless” on the streets of Paris, in French, in black and white, in the Academy aspect ratio,...

Every so often a film comes along destined to restore jaded critics’ faith in the joy of cinema.

Director Richard Linklater does just that with this monochrome chronicling of the making of Jean-Luc Godard’s Breathless and its impact on generations of movie brats. Audiences should also be able to indulge in the same sense of pleasure.

The material could not be in better hands. Linklater with his first film in French has managed to assemble an amazing lookalike cast of Guillaume Marbeck as Godard, Aubry Dullin as star Jean-Paul Belmondo and Zoey Deutch as the ingenue Jean Seberg among others. They’re all dead ringers by the time Linklater puts them under his gaze.

Linklater’s sheer audacity in tackling such a revered figure as Godard, known as “the great disruptor,” shines through and knows no bounds. It becomes a legend-spotting parade as everyone from Claude Chabrol, François Truffaut,...

As Richard Linklater basked in a rapturous ovation following the Cannes premiere of “Nouvelle Vague,” his look at Jean-Luc Godard and a movement in French cinema that changed the course of film history, it was impossible not to be reminded of the indie revolution he had played a vital role in three decades ago. It helped, of course, that the biggest rebel in that group of backlot iconoclasts, Quentin Tarantino, was standing just in front of him, leading the cheering.

“I’ve known Tarantino, like for 30 years or whatever. He’s one of my oldest film buddies, so to have him there was cool,” Linklater said the afternoon after “Nouvelle Vague” took Cannes by storm, earning some of the festival’s best reviews.

The film follows Godard as he bluffs his way through the making of “Breathless,” the crime classic that gave the New Wave an irresistible dash of cool...

Richard Linklater’s Cannes Competition title Nouvelle Vague had its world premiere the Palais this evening and was welcomed with a 11-minute ovation.

Quentin Tarantino was at tonight’s screening as well and helped lead the long-lasting applause. It was the second time he’d watched the film in about eight hours, having also caught a special screening late Saturday morning.

Quentin Tarantino greets Richard Linklater as Linklater’s ‘Nouvelle Vague’ (‘New Wave’) has its world premiere in #Cannes2025 pic.twitter.com/lofs7qKWUJ

— Deadline (@Deadline) May 17, 2025

An homage to Jean-Luc Godard’s 1959 classic Breathless, the French-language film reconstructs the story behind the film starring Jean Paul Belmondo and Jean Seberg. French actor Guillaume Marbeck plays Godard, Zoey Deutch is Seberg, and newcomer Aubry Dullin portrays Belmondo.

Five-time Oscar nominee Linklater was last in the Cannes Competition with 2006’s Fast Food Nation and played Un Certain Regard with A Scanner Darkly that same year.

In 1983, Jim McBride attempted an English-language remake of Jean-Luc Godard’s 1959 cinema landmark, Breathless with Richard Gere. It broke one of Godard’s cardinal rules: It was in color. Although not as terrible an idea as Gus Van Sant’s disastrous shot-by-shot 1998 color remake of Hitchcock’s 1960 Psycho — which, like Godard’s forever-influential movie the year before, also broke all the rules of its genre — it is dismissed today with the original still finding new life with young audiences each generation, as France’s New Wave also continues to do.

With the truly wonderful Nouvelle Vague (New Wave), premiering today in Competition at Cannes (where else?), Richard Linklater smartly has not attempted a remake of Breathless but rather a certain regard and respect for the wildly creative cinematic period Godard and his contemporaries achieved with the French New Wave. A cinema revolutionary in spirit and deed himself — just watch his...

In 1959, a film critic picked up a camera, threw out the rule book, and forged a new kind of cinema on the streets of Paris. Three decades later, a young slacker pulled off a similar feat in Austin. And on Saturday, an American master world premiered a moving and richly entertaining tribute to the unbridled creativity that propelled both himself and his spiritual mentor to Cannes.

A labor of love and a product of considerable craft, Richard Linklater’s “Nouvelle Vague” — which chronicles the making of Jean-Luc Godard’s “Breathless” — is more than just a valentine to the French New Wave; the film is also a stealth showcase for a filmmaker rarely heralded for his technical sophistication. Indeed, without ever calling too much attention to its more than 300 VFX-shots, Linklater’s latest plays as a hang-out film from a world gone by – a ramble across 1950s Paris that ushers viewers into the nearest café,...

From Jean Seberg’s sideswept pixie cut to Jean-Paul Belmondo’s aviators, Jean-Luc Godard’s “Breathless” has become more fashionable in today’s cultural imagination for its iconic looks and images than for how the jump-cut-pioneering renegade feature collapsed cinematic hierarchies as we knew them in 1960. That makes one of the greatest films of all time, and the standard bearer of the French New Wave, ripe for discovery for a younger generation — and fresher still for the older ones well familiar with it.

If the best way to criticize a movie, as Cahiers du Cinéma critic Godard once said, is to make one, then director Richard Linklater’s answer to making a tribute to “Breathless” might instead be to not quite criticize but certainly to subvert the tropes of movies about moviemaking. His black-and-white “Nouvelle Vague,” itself a meticulous recreation of a movie made in 1959 with all the celluloid, Academy-ratio crackle and pop,...

Richard Linklater — paragon of American cinema — has decided to go French. In addition to unveiling his Lorenz Hart chamber piece “Blue Moon” at this year’s Berlinale, Linklater went intercontinental by premiering his ode to the French New Wave, “Nouvelle Vague,” in competition at the 2025 Cannes Film Festival. Watch a teaser for the film below.

“Nouvelle Vague” is set during the 1959 Paris-set shoot of Jean-Luc Godard’s debut feature, “Breathless.” Starring Jean-Paul Belmondo and American actress Jean Seberg, “Breathless” follows an aimless criminal and his unwitting romantic interest as they fall in love, while at the same time being pursued by the law. Aubry Dullin and Zoey Deutch fill the roles of Belmondo and Seberg, while Guillaume Marbeck takes on the maestro himself, Godard. Other luminaries of the French New Wave featured in the film include François Truffaut (Adrien Rouyard), Suzanne Schiffman (Jodie Ruth-Forest), Claude Chabrol (Antoine Besson), Agnès Varda...

After releasing two films last year with Hit Man and the rather-overlooked God Save Texas: Hometown Prison, the ever-prolific Richard Linklater returns in 2025 with another pairing. Earlier this year he premiered Blue Moon at Berlinale. Ahead of that film’s October release, he’s at Cannes to premiere Nouvelle Vague, his tribute to the French New Wave and chronicle of the making of Breathless––all directed in the style of Jean-Luc Godard’s landmark debut. A first trailer has arrived for the feature (still seeking U.S. distribution) ahead of the premiere.

The cast includes Guillaume Marbeck as Jean-Luc Godard, Zoey Deutch as Jean Seberg, Aubry Dullin as Jean-Paul Belmondo, Matthieu Penchinat as Raoul Coutard, Adrien Rouyard as François Truffaut, Antoine Besson as Claude Chabrol, Roxane Rivière as Agnès Varda, Jean-Jacques Le Vessier as Jean Cocteau, Côme Thieulin as Éric Rohmer, Laurent Mothe as Roberto Rossellini, Jonas Marmy as Jacques Rivette,...

Alfred Hitchcock’s legacy is being reexamined by the best modern critics. IndieWire can exclusively share the list of esteemed journalists, including IndieWire’s own Kate Erbland, who will be moderating one of the highly-anticipated “Hitch! The Original Cinema Influencer” screening series panels.

As IndieWire previously announced, Netflix is hosting a theatrical re-release of Hitchcock’s most beloved features at the Paris Theater in New York City. Fittingly, the screening series is co-presented with the New York Film Critics Circle; members of the leading national critics group will be on hand to discuss the curated collection of Hitchcock films.

“Hitch! The Original Cinema Influencer” will be a six-week screening series that coincides with the iconic auteur’s features being available to stream on Netflix starting June 1. “Hitch! The Original Cinema Influencer” will run from May 16 through June 29, and is set to include more than 60 films, 36 of which are directed by...

Three-time Oscar-winning director and screenwriter Robert Benton, who helmed the 1979 best picture Oscar winner “Kramer vs. Kramer” as well as such films as “The Late Show,” “Places in the Heart” and “Nobody’s Fool” and collaborated on the screenplay for “Bonnie and Clyde,” died Sunday in Manhattan. He was 92.

His death was confirmed to the New York Times by his assistant and manager Marisa Forzano.

Benton, who started out as an art director at Esquire magazine, was partnered early on with fellow Esquire alumnus David Newman. They penned the innovative, award-winning 1967 film “Bonnie and Clyde,” which launched both their careers. They gradually diverged as Benton expanded into directing starting with “Bad Company,” starring Jeff Bridges.

After “Kramer,” he continued to turn out dramatic films, which he often wrote as well as directed. He brought Oscar fortune to actors including Dustin Hoffman, Meryl Streep, Sally Field, John Malkovich, Jane Alexander and Paul Newman,...

General delegate Thierry Fremaux bristled at the notion that Cannes Film Festival always selects the same filmmakers for its Competition, saying that “it’s really not true.”

At the pre-festival press conference, Fremaux was asked why the Dardenne brothers are in Competition for the ninth time, with their film The Young Mother’s Home.

“This question hides another one,” said Fremaux, mimicking those who say “‘the Dardenne brothers yet again, it’s always the same people!’”

“If you look at the statistics, it’s not,” said Fremaux, citing the first-time filmmakers in Competition this year, including Ari Aster with Eddington, Carla Simon...

The Cannes Film Festival is nearly here and while it’s easy to get swept up in the glitz and glamor and very big yachts, there’s another, equally important side to the festival as a marketplace for films from all over the world seeking distribution.

And there are some very big movies at this year’s festival which don’t have distribution, either domestically or internationally, that are very much worth keeping an eye on. They could be some of the festival’s biggest splashes.

“Die My Love” (Courtesy Cannes Film Festival) Die, My Love (Lynne Ramsay)

Scottish director Lynne Ramsay is one of the most exciting filmmakers working today and the fact that she has only made five features total, beginning with her outstanding debut feature “Ratcatcher” (back in 1999), turning the release of each new film into a verifiable event. “Die, My Love,” her first since 2017’s “You Were Never Really Here,...

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Jules is a sci-fi comedy-drama film directed by Marc Turtletaub from a screenplay by Gavin Steckler. The 2023 film follows Milton Robinson, an elderly man whose peaceful life is interrupted when a UFO crashes in his backyard. He soon befriends the alien, but things go awry when his neighbors and the government learn about the alien. Jules stars Ben Kingsley, Harriet Sansom Harris, Zoë Winters, Jade Quon, and Jane Curtin. So, if you loved the entertaining story and likable characters in Jules, here are some similar movies you should check out next.

E.T. the Extra-Terrestrial (Rent on Prime Video) Credit – Universal Pictures

E.T. the Extra-Terrestrial is a sci-fi adventure film directed by Steven Spielberg from a screenplay by Melissa Mathison. The 1982 film follows Elliott, a young boy who comes across an alien and names him E.T.

Phyllis de Picciotto, a co-founder of the Santa Barbara International Film Festival, has died. She was 84.

De Picciotto died April 14 of heart failure at a hospice care facility in Santa Barbara, her daughter Leonie de Picciotto told The Hollywood Reporter.

After moving from Los Angeles to Santa Barbara in 1983, de Picciotto programmed films at the Riviera Theatre for Metropolitan Theatres CEO Bruce Corwin to great success. That led to her holding a meeting in her living room to pitch the idea of a Santa Barbara-based film festival.

The event would, according to her husband, Stan Roden, offer “world and U.S. premieres along with celebrities, panels, Klieg lights, vintage cars, red carpet, long lines fostering conversation, lavish parties, a large, dedicated group of volunteers, free programs, artist retrospectives and awards.”

Corwin offered Metropolitan’s theaters and cash to the effort and helped persuade the City Council that such a festival...

These days, it’s rare to hear something cool about programming on the Netflix streaming service that involves older films rather than the next batch of “Netflix Original Films” they have in the works – but here’s something very cool: Netflix has announced that they’re teaming up with the New York Film Critics Circle to launch a screening series called Hitch! The Original Cinema Influencer at the Paris Theater, which is the longest-running arthouse cinema in New York City and is also Manhattan’s only remaining single-screen cinema, as well as the borough’s largest movie theater, with 535 seats. If you can’t make it to the Paris Theater for the screenings, you’ll be glad to hear that a collection of classic Hitchcock films will also be available to stream on Netflix as of June 1st.

Here’s the information that was provided by Netflix: Keep the lights...

Netflix is expanding its U.S. streaming library in June with a collection of films by Alfred Hitchcock, including The Birds, Vertigo, Rear Window, Family Plot, Frenzy, and The Man Who Knew Too Much. The lineup joins Psycho, which is already available on the service.

The platform will also present a six-week film series titled “Hitch! The Original Cinema Influencer” at the Paris Theater in New York City. The retrospective, running from May 16 through June 29, will include more than 50 films, 36 of which were directed by Hitchcock. Thirty-five of those titles will be screened in 35mm prints. The program is co-presented by the New York Film Critics Circle.

Screenings will include Rear Window, Vertigo, and North by Northwest, along with films that draw on Hitchcock’s style, such as François Truffaut’s The Bride Wore Black and Henri-Georges Clouzot’s Diabolique. Also featured is Hitchcock, the 2012 biopic directed by Sacha Gervasi.

Netflix will add seven Alfred Hitchcock classics to its U.S. streaming library beginning June 1. The catalog includes iconic suspense films such as Vertigo, Rear Window, and The Birds.

The Hitchcock catalog's streaming debut coincides with a major theatrical retrospective titled Hitch! The Original Cinema Influencer at New York's Paris Theater, co-presented with the New York Film Critics Circle. The film revival will span six weeks, from May 16 to June 29 at the historic single-screen cinema adjacent to Central Park. Netflix acquired the revered theater in 2019 and turned it into a flagship theatrical venue in New York.

The Hitchcock and Netflix team-up has plenty for cinephiles to enjoy. The Paris Theater program complements the legendary director's works, presenting restored classics and 35mm screenings of films inspired by Hitchcock's techniques alongside his filmography. Movies getting the showcase include The Bride Wore Black by François Truffaut and Diabolique by Henri-Georges Clouzot. Even contemporary...

Alfred Hitchcock enjoyed making his audiences suffer, and now that uneasy feeling is coming to Netflix in large doses. The streamer said today that it will add several of the horror-suspense master’s best loved films, including The Birds, Vertigo, Rear Window, his final film Family Plot and more.

They join the filmmaker’s beloved and dreaded masterpiece Psycho, which is streaming now on Netflix.

Also headed to the service are Frenzy, The Man Who Knew Too Much and others, along with Hitchcock, a narrative feature about the legend directed by Sacha Gervasi. The new online collection also features films inspired by Hitchcock’s mastery such as Us and Barbarian.

Also on the horizon is “Hitch! The Original Cinema Influencer,” a six-week screening series at the 90-year-old Paris Theatre in Manhattan featuring more than 50 films including three dozen by Hitchcock. Many will be shown in 35mm, including Hitchcock’s Rear Window,...

Get ready to scream: Netflix is bringing a collection of Alfred Hitchcock films to the streaming service this June — and, despite chief Ted Sarandos’ belief that the movie-theater biz is “outdated,” the company will showcase the legendary filmmaker’s work at its Paris Theater in New York City in a six-week series.

Starting June 1, a collection of classic Hitchcock films will be available to stream in the U.S. Those will include “Vertigo,” “Rear Window,” “Frenzy,” “The Man Who Knew Too Much,” “Family Plot” and “The Birds.” Currently, U.S. customers can stream Hitchcock’s genre-defining masterpiece “Psycho,” now available on Netflix in the country.

In addition, Netflix’s Hitchcock collection will include films inspired by the British-born director, such as Jordan Peele’s “Us” and Zach Cregger’s “Barbarian,” as well as narrative feature “Hitchcock” directed by Sacha Gervasi.

Meanwhile, Netflix’s Paris Theater will present “Hitch! The Original Cinema Influencer,...

Good evening. We welcome you to Netflix and Chill with one of the all-time greats.

A collection of Alfred Hitchcock movies will be available for streaming on Netflix starting June 1, and Netflix is also staging a massive, six-week screening series at its Paris Theater in New York City that will cover many of the master of suspense’s classics.

Available for streaming on Netflix in the U.S. beginning on June 1 will be “Vertigo,” “Rear Window,” “Frenzy,” “The Man Who Knew Too Much,” “Family Plot,” “The Birds,” and more. “Psycho” is already available on the streamer, as is the biopic “Hitchcock” as directed by Sacha Gervasi. All the films will be presented in a row of titles on Netflix, and they’ll also be accompanied by some other films that were inspired by Hitchcock, such as “Us” and “Barbarian,” which Netflix has also licensed.

Netflix in association with the New...

One of the most salient shortcomings of Netflix as a streaming service is that its film library at any given moment is frustratingly devoid of movies made before 1980. In the streamer's defense, their focus since 2013 (when they hit binge-viewing paydirt with "House of Cards") has been on generating a raft of original programming in order to cut back their need to license classic television shows and films they do not own. Additionally, the success of streaming services like The Criterion Channel and Tubi, which cater to cinephiles with an array of pre-1980 movies, suggests that this market has already voted with its dollars. This is somewhat understandable, but it also does a huge disservice to young film fans who, for example, might fall so hard for Mike Flannagan's "The Haunting of Hill House" that they desperately need to see Robert Wise's much-lauded 1963 take on Shirley Jackson's horror novel.

Netflix, the streaming service famous for not streaming older movies and not bringing movies to the big screen, is – in a surprise twist – bringing a bunch of old movies to the big screen!

The Hollywood Reporter has announced this afternoon that the Netflix-owned Paris Theater in New York will be celebrating Alfred Hitchcock with screenings of 36 of his movies.

“The series — Hitch! The Original Cinema Influencer — will run May 16 to June 29 at the Paris Theater, which Netflix purchased in 2019,” THR details. “The films range from Hitchcock’s early works such as Blackmail to enduring hits such as Psycho and The Birds.”

In addition to the big screen series, a collection of classic Alfred Hitchcock films will be available to stream on Netflix in the US featuring some of his most iconic works starting June 1.

Here’s everything you need to know, straight from the Paris Theater…

The Paris Theater is proud to present Hitch!

The Criterion Collection has announced their July 2025 slate of titles, delivering Stanley Kubrick, a film noir classic, an underrated New Hollywood gem, and more. Let’s check out what Criterion has in store:

First up is Fritz Lang’s The Big Heat (spine #1269), a scorcher of a noir that offers Glenn Ford and femme fatale Gloria Grahame in some of their finest performances (and don’t forget Lee Marvin!). With stellar black and white cinematography by Charles Lang (no relation), The Big Heat stands out in a decade crowded with some of the greatest film noirs ever. Special features include two new commentaries, an archival audio interview with director Lang (co-conducted by Peter Boganovich) and interviews with filmmakers Michael Mann and Martin Scorsese.

A pleasant addition is 1971’s Carnal Knowledge (spine #1270), one of just three Mike Nichols films featured in the collection. I always considered Carnal Knowledge one of the...

The Criterion Collection has shared with us the new round of releases coming this July, which boasts an impressive lineup of work from directors Stanley Kubrick, Fritz Lang, Mike Nichols, François Truffaut, and Kenneth Lonergan.

Lang’s genre-defining noir film “The Big Heat” is one of the big standouts in the announcement as it featured iconic actor Glenn Ford as the hard-boiled detective and a young Lee Marvin playing the thuggish heavy, a large calling card for these kinds of films is shocking violence and there is plenty to go around in this one.

Continue reading Criterion’s July 2025 Releases Include Stanely Kubrick’s ‘Barry Lyndon,’ ‘The Big Heat,’ ‘Adventures Of Antoine Doinel,’ ‘Carnal Knowledge’ & More at The Playlist.

Providing two of the most-demanded upgrades while adding a major American filmmaker to their ranks, Criterion has announced July 2025’s lineup. Stanley Kubrick’s Barry Lyndon and François Truffaut’s Antoine Doinel series––the former a 2017 release, the latter dating to the start of the second Iraq War––will arrive in fresh 4K editions. While nearly everybody has come around to Lyndon as one of Kubrick’s greatest achievements, modern cinephilia has the opportunity to unstick itself from the will-we-or-won’t-we with Truffaut by revisiting his still-unmatched accomplishment in decades-spanning character psychology couched in genre play. Until the next time he’s out-of-fashion, at least.

Meanwhile, Kenneth Lonergan’s You Can Count on Me gets what is surely its most formidable home-video presence ever; same goes for Fritz Lang’s The Big Heat, whose pot of coffee should really show off your TV’s black levels. Meanwhile, Mike Nichols’ Carnal Knowledge...

Plot: A team of Navy Seals are pinned down in a two-story house in the middle of insurgent territory during the Battle of Ramadi.

Review: Francois Truffaut once famously stated that there was no such thing as an anti-war film. His reasoning for this was that, by the way the medium works, there’s always something dazzling about the way such a film is mounted that can’t help but glamorize a terrifying situation. Granted, I’m not the only critic who pulled out this old chestnut for my Warfare review but speak to any vet, and they’ll tell you that Hollywood gets it wrong more often than it gets it right. I vividly remember our former Eic here at JoBlo, Paul Shirey, a combat vet, telling me that he thought The Hurt Locker was utterly preposterous. Yet, it can’t be denied that Alex Garland and co-director Ray Mendoza...

Cannes Film Festival head Thierry Frémaux has promised “a raft of big stars” at its 78th edition in May, while acknowledging the challenges facing Hollywood and questions around its future.

Speaking to journalists after announcing his 2025 Official Selection in Paris on Thursday morning, Frémaux was replying to a question on whether the lineup offered the prospect of fewer Hollywood stars this year, even though names poised to hit the red carpet include Tom Cruise, Scarlett Johansson, Joaquin Phoenix, Pedro Pascal and Emma Stone.

“There are a lot of American films, especially in Competition, since even the film by South African Oliver Hermanus is an American film,” he said.

“But it’s true — the question has been asked for the last two or three years, not only about the effect of external factors impacting the Hollywood industry such as the writers strike or the fires at the beginning of the year but also about the U.

After releasing two films last year with Hit Man and the rather-overlooked God Save Texas: Hometown Prison, the ever-prolific Richard Linklater returns in 2025 with two more features. Earlier this year he premiered Blue Moon at Berlinale. Now Sony Pictures Classics, in the official CinemaCon program guide, has confirmed a fall release window for the drama.

Described as “a funny Valentine to old Broadway,” here’s the synopsis: “On the evening of March 31, 1943, legendary lyricist Lorenz Hart confronts his shattered self-confidence in Sardi’s bar as his former collaborator Richard Rodgers celebrates the opening night of his ground-breaking hit musical Oklahoma!“

Meanwhile, Linklater looks to have locked his next feature Nouvelle Vague, his tribute to the French New Wave and chronicle of the making of Breathless, directed in the style of Jean-Luc Godard’s landmark debut. While it’s still seeking U.S. distribution, French distributor Arp Sélection has confirmed an...

Exclusive: Cinema Guild has acquired North American distribution rights on the restored films of French filmmaker Luc Moullet.

Cinema Guild will mount a touring theatrical retrospective of Moullet’s work starting at Film at Lincoln Center in New York in August. Moullet, one of the last remaining members of the French New Wave, will attend the opening.

The films included in the acquisition are Brigitte and Brigitte, The Smugglers, A Girl is a Gun, Anatomy of a Relationship, Origins of a Meal, The Comedy of Work, and Parpaillon.

Often dubbed the “prince of shoestring cinema,” Moullet was one of the later filmmakers associated with the pioneering generation of French New Wave artists.

At the age of 18, Moullet joined the ranks of Cahiers du Cinéma, where he was the first to champion Hollywood B-directors like Samuel Fuller and Edgar G. Ulmer. Following the footsteps of other Cahiers alums like Jean-Luc Godard and François Truffaut,...

When we think of French cinema, there are many influential names that come to mind including Francois Truffaut, Agnes Varda, or Luc Besson. Two sides are drawn when analyzing French movies where one is a realistic approach to the art form and the other is of a more romanticized, fantastical style of storytelling. Reality and fantasy are a French director’s two paths to choose. Jean Pierre Jeunet is an exception as he manages to take inspiration from both of these sides while also finding success in major film markets outside his native homeland. Prevelant across all his projects is his charming idiosyncratic style in which he uses the genres of fantasy, romantic comedy, science fiction, and even war to “create idealized realities or give relevance to mundane situations.” His films are some of the most accessible French films to international audiences and this article will provide a feasible guide...

When film critics hold forth on war films that purport to deliver a realistic treatment of combat, they are most likely talking out of their hat. Most of my colleagues, including me, have never served in the military, and, thus, haven't the slightest clue as to what it feels like to have bullets whizzing by your head while ordinance explodes in your vicinity. Heck, many people who serve in the military don't get that experience.

So when it comes to determining what's realistic and what's Hollywood, all you can do is consult someone who's been in it. I've done this throughout my career as a critic, and the titles I hear most frequently as being the most realistic are probably "The Battle of Algiers," "Come and See," "Saving Private Ryan," "Das Boot," "Hamburger Hill," and "Black Hawk Down." And while François Truffaut once asserted that there's no such thing as an anti-war movie,...

Canadian director Philippe Lesage sits somewhere along the spectrum between François Truffaut and Richard Linklater when tracing the process of growing up. Since moving into narrative filmmaking with 2015’s The Demons, Lesage has pulled largely from the same group of young actors and followed their gradual progression from youth toward adulthood. The filmmaker tells me he plans to shoot a follow-up to 2018’s Genesis, following Théodore Pellerin’s Guillaume a decade after the film, but quips, “It’s not a sequel because I don’t expect that many people who have seen the previous films.”

Perhaps more audiences will come to discover Lesage’s filmography after seeing his latest work, Who by Fire. Four out of the film’s 10 actors return from previous collaborations with the director in this clash of generations that plays out in the secluded woods of rural Canada. Fault lines emerge across age, gender, status, professional attainment,...

Every talented artist needs to look at their work from time to time and say, “Damn! I’m good.” Well, Alfred Hitchcock did that. The legendary British director — known as the “Master of Suspense” — made over 50 films in his career and loved most of them. Why wouldn’t he adore them? His movies garnered a whopping 46 Oscar nominations, making him the true symbol of excellence. And at the box office, they brought in more hundreds of millions. On top of that, Hitchcock invented (or popularized) many filmmaking techniques, including the “Dolly Zoom,” and the “MacGuffin,” leaving a true mark on cinema.

In a 1969 interview with the BBC, the Master of Suspense named Rear Window and Shadow of a Doubt as two of his cherished works from his catalog. He also had good things to say about many of his other films. However, he hated Suspicion, a lavishly photographed, first-rate romantic...

German director Mehmet Akif Büyükatalay’s Hysteria has been awarded the Europa Cinemas Label for Best European Film in the Panorama section at the 75th Berlin International Film Festival.

The behind-the-scene conspiracy thriller follows the drama on a German film shoot, a production about real-life arson attacks on a Turkish family by German skinheads, that kicks off when a copy of the Quran is burnt on set. That kicks off a cleverly plotted whodunit that also examines the issue of who benefits from fictionalizing real-world violence. “Imagine Knives Out meets François Truffaut’s Day for Night, but set in a present-day Germany rife with tensions about immigration and Islam,” The Hollywood Reporter critic Jordan Mintzer said in a rave review.

The Europa Cinemas jury—comprising Klaudia Elsässer (Art+ Cinema, Hungary), David Kelly (Light House Cinema, Ireland), Constanze Oedl (Stadtkino im Künstlerhaus, Austria), and Cenk Sezgin (Cinemarine Cinemas, Turkey)—praised Büyükatalay...