An Actor Follows a New Script for Romance in 'Va savoir'

A Series of Jean-Luc Godard's Favorite Films Sees the Critic-Turned Director Delivering Pronouncements From on High

After September 11: Projecting the future of entertainment at the New York Film Festival

Twin Cities documentarians seek national exposure in New York

The Producers and 101 Reykjavik are textbook cases of repugnance redeemed

Bubble Boy's comedy is not infectious

An intrepid teen exorcises the spooky realm of Starblockbusterandnoble in Ghost World

An Oak Street retrospective pulls us back to the flashy days of Eighties cinema

Tim Burton's outsider art survives even the brute commercialism of Planet of the Apes

Lhakpa Tsamchoe takes the high road to promote Himalaya

With A.I. Artificial Intelligence, Steven Spielberg tries to rescue the world's most elusive filmmaker from an unhappy ending

Local director Tara Spartz's teen farce turns freelance childcare into serious business

Or, Cannes 2001: How to love the movies without hating yourself

Solondz brings his salt shaker to another open wound; Denis makes Trouble

A look at celebrated cinema raises questions about the purity of its essence

Taiwan's Yi Yi (A One and a Two...) is a more inclusive family drama than Hollywood's universal pictures

Tom Schroeder's animated "Bike Ride" pedals toward heartbreak--and back again

With The Gospel According to St. Matthew, Pier Paolo Pasolini likened the Messiah's sacred flock to the lumpen proletariat

Wong Kar-wai's In the Mood for Love lingers at the crossroads of impossible romance and infinite possibility

At the turn of another century, The House of Mirth's heroine remains wedded to tragedy

Director David Gordon Green reconsiders the South's constitution in George Washington

With Movie Wars, film critic Jonathan Rosenbaum positions himself as the last line of defense against Hollywood tyranny

What you see is (not) what you get: Twelve months of well-screened duds and rarely viewed wonders