Metrograph

Oleksandr Dovzhenko and Yuliya Solntseva Essay On the unsung authorship of Oleksandr Dovzhenko’s surviving collaborator, co-director and wife. Oleksandr Dovzhenko: Earth and Empire plays at Metrograph from Saturday, October 10. Share: MOST FILM DIRECTORS MAKE A BID for immortality, but few can boast multiple credits as a film’s author after their death.

Columns In Futures and Pasts, Metrograph’s Editor-at-Large Nick Pinkerton highlights screenings of particular note taking place at the Metrograph theater. For the latest entry, he considers Roberto Rossellini’s one-of-a-kind approach to the costume drama, and his 1970 film on the last years of the tireless Athenian truth-seeker. Socrates (1970) opens at Metrograph on Friday, October 9.

The Illiac Passion (1967) Essay On the most elaborate of Gregory Markopolous’s modern myths. The Illiac Passion (1967) plays at Metrograph from Saturday October 10, as part of Classical Cinema.

Interview Senegalese visual artists and curators discuss the towering cinematic figures who inspire their craft. Jollof Films Presents: Faat Kiné plays at Metrograph from Sunday, September 27. Share: For Alassane Sy and Ahmad Cissé, the Senegalese founders of the Pan-African cinema club Jollof Films, highlighting the pioneering work of African filmmakers is vital to their ethos.

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“MY WHOLE LIFE IS A DARKROOM,” deadpans Lydia Deetz in Beetlejuice (1988) when her father offers to build a photography studio in the basement of their newly acquired, soon-to-be-raucously haunted house. With this misanthropic retort, Winona Ryder punched her ticket to fame and sealed her place in pop culture immortality. She was 15 years old and had the pallor of a 19th-century consumptive.

AS HARPERCOLLINS PREPARES TO publish the first English-language translation of Ryuichi Sakamoto’s Music Sets You Free, which combines his twin autobiographical tomes Music Sets You Free and How Many More Times Will I Watch the Full Moon Rise? into a single volume, Metrograph pays homage to the prodigious, generational talent by screening a quartet of cinematic portraits: Sakamoto on Screen, Portraits of an Artist, and by sharing this excerpt from the opening chapter of Sakamoto’s luminous memoir.

PREMIERING LAST MONTH AT THE Locarno Film Festival, and soon to screen at the New York Film Festival, the latest by Catalan auteur Albert Serra is a hypnotic work of nonfiction. Sixteen Moments of My Life (2026) documents a concert given by the chanteuse and actress Ingrid Caven, most recognizable as a beguiling peripheral presence in many of the films of Rainer Werner Fassbinder, her one-time husband, as well as those of Werner Schroeter and Daniel Schmid.

Skip to the content We are far today—very far, indeed—from the world of Spartan discipline and Athens under Pericles, that of Homer’s wine-dark Mediterranean, of Aeschylus, Socrates, and Sophocles… but, as the success of a certain recent box-office juggernaut has proven, the echoes of this world resonate deeply with us still.

Columns In Futures and Pasts, Metrograph’s Editor-at-Large Nick Pinkerton highlights screenings of particular note taking place at the Metrograph theater. For the latest entry, he considers Tsui Hark’s foul and fragrant third feature, Don’t Play with Fire (1980). Don’t Play With Fire: The Films of Tsui Hark opens at Metrograph on Friday, September 4.