On the eve of its Criterion release, Max Nelson offers some commentary on Abdellatif Kechiche's Blue Is the Warmest Colour.
Like every year in this strange stretch of film history, with its Venn-Diagram-overlap between small-screen and big-screen moviegoing, digital and celluloid projection, home video and streaming, and grassroots and studio funding, 2013 was confusing, noisy, rattled, and disjointed.
Max Nelson shares one of his favorite pieces of film criticism, Chris Marker's A Day in the Life of Andrei Arsenevich.
In our Yearbook series, Double Exposure contributors share lists and essays that attempt to define their year in film. In this entry, Max Nelson recounts some of the more notable cinematic naps he indulged in this year.
Miguel Gomes’ extraordinary new film Tabu opened today at Film Forum for a two-week engagement. To mark the occasion, we’re re-running our interview with the Portuguese filmmaker, originally published in our special NYFF issue.
Max Nelson endures Christian Marclay’s 24-hour opus The Clock and lives to tell the tale.