Hail Satan? marks the first time that director Penny Lane filmed contemporary events as they developed, though her deftness with archival material is crucial to the story’s appeal.
A two-part series at the Quad Cinema chronicles the cheaply made and formally rich horror movies that the UK’s Hammer Films began producing in the 1950s.
Originally released in the US in 1993 to much puzzlement and shock, a rare 35mm print of Urotsukidōji: Legend of the Overfiend will screen at Nitehawk.
From a film on basketball legend Kobe Bryant to an adaptation of Roald Dahl poems, this is the first crop of nominees in many years without a single dud.
The Museum of Modern Art is screening Ed Wood’s 1959 cult classic, Plan 9 from Outer Space.
Alberto Vázquez’s Birdboy seeks a visual language for dealing with adult themes through traditionally childlike devices.
The directors of Jesus Camp and Detropia offer an in-depth look at Brooklyn’s Hasidic community.
Rich in interviews and ephemera from the making of Lynch’s classic, Blue Velvet Revisited is ultimately disappointing as a standalone artistic achievement.
Director James Whale used expressive cinematography, Karloff’s gift for pantomime, and an original approach to fight sequences to inspire a lasting, haunting sense of fear.
78/52 is an in-depth look at the background, shooting, and lasting influence of one of film’s legendary horrors.
Williams talks about his relationship to cinematography, including his latest work in Thirst Street, the truest visual smorgasbord of all.
In the documentary Spettacolo, the people of Monticchiello see art as a tool to promote populism.