'With the rise of modern social media culture came the rise of [Ryan] Gosling, and it’s hard not to associate him with a very particular moment in millennial culture and internet use.'

From 2021, Christina Newland's survey of the actor's unique and notable career leads us on a…

Werner Herzog meets with Wim Wenders in Tokyo.

A love letter to one of cinema's greatest partnerships, narrated and presented by Martin Scorsese.

MADE IN ENGLAND: THE FILMS OF POWELL AND PRESSBURGER. In German cinemas June 20, and streaming from June 28 in Latin America, France, Italy, India, Turkey, Germany and more. Coming…

'Every now and then there comes a film so in tune with our pestilential zeitgeist as to earn that most dangerous of descriptors: important.'

In his latest 'The Current Debate' column, Leonardo Goi writes on Alex Garland's CIVIL WAR.
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Diving into the funky world of animals—sadomasochistic snail sex, anyone?— Isabella Rossellini’s micro-shorts brim with visual ingenuity and cheeky humor, all while being astonishingly educational.

A first trailer for Roberto Minervini’s THE DAMNED, premiering at #Cannes2024 .

Only Jean-Luc Godard could conjure the cosmos in a cup of coffee.

Los Angeles, May 12: Now Instant Image Hall presents a screening of Jean Eustache’s THE MOTHER AND THE WHORE (1973) followed by a conversation between Rachel Kushner and Jean-Pierre Gorin.

Discover this week’s essential film finds in the latest Rushes. mubi.com/en/notebook/po…

Ahead of its #Cannes2024 premiere, a first trailer for Payal Kapadia's ALL WE IMAGINE AS LIGHT.

Ten years before PARIS, TEXAS, Wim Wenders made the luminous road movie ALICE IN THE CITIES: a moving portrait of shared loneliness that journeys through restrained emotional landscapes.

'To step into her films, with their perpetual enfolding of narrative necessity, visual-aural abstraction, and sensorial impact, is to be set adrift in conflicting currents of obsessive prose and measured movement...'

Lawrence Garcia on Marguerite Duras. mubi.com/en/notebook/po…

'“Do Not Expect Too Much from the End of the World” is often breathtakingly funny, but its absurdity arises from a powerful sense of outrage—a principled disgust with the stupidity, hypocrisy, venality, and cowardice of the modern world.' — The New Yorker (Justin Chang)

THE SUBSTANCE x MUBI x CANNES
🔥🔥🔥🚀🚀🚀🔥🔥🔥 MUBI Festival de Cannes

Have you ever dreamt of a better version of yourself?

Coralie Fargeat's spine-tingling THE SUBSTANCE premieres in competition at #Cannes2024 . Starring Demi Moore, Margaret Qualley and Dennis Quaid.

Coming soon to the US, UK, Latin America, Germany, Turkey, Canada, Netherlands,…

Isabelle Huppert will preside over the International Jury of the Competition at La Biennale di Venezia's #Venezia81 , set to take place August 28 - September 7. labiennale.org/en/news/isabel…

'That the film devotes so much time to elaborating the way life and art converge and limn each other through performance, intertextuality, and the process of adaptation raises an interesting point: within its narrative, disability occupies the intertext, much like the plays that…

A slice-of-life drama from Wim Wenders, who lends his humanist gaze to the inhabitants of his beloved Tokyo.

'Through the Méliès-style moon monster and a distinctly Lynchian roadhouse, [Jane] Schoenbrun mines the archive of film history to build their own referential landscape; they construct a world that recalls the power of the screen...' | grace byron:
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Mixing a cast of performers into her stop-motion world of idiosyncratic illustrations, Suzan Pitt amps up the slapstick humor and revels in topsy-turvy fun.

'I also had a feeling that it feels like a student film, like a bad student film. It’s shot without lights, only with natural lighting. In the second part there’s a light on the actors, because it’s part of the dramaturgy. With Nina Hoss I told Marius [Panduru, DP] that we should…