Saraband
Written and directed by
Ingmar Bergman
Ingmar Bergman Movie Reviews
Faithless
Written by
Private Confessions
Written by
Fanny and Alexander
Written and directed by
Cries and Whispers
Directed by
The Touch
Written, produced and directed by
Shame
Written and directed by
Hour of the Wolf
Directed by
Persona
Directed by
Winter Light
Written by
Through a Glass Darkly
Written and directed by
The Seventh Seal
Written and directed by
Smiles of a Summer Night
Directed by
Blog Posts That Mention Ingmar Bergman
Ingmar Bergman’s Cinema is an Essential Blu-ray Release
Bright Wall/Dark Room November 2018: An Essay on Ingmar Bergman’s Hour of the Wolf by Ethan Warren
Believing in Ingmar Bergman’s Cinema
Ingmar Bergman’s Cinema, Criterion’s 39-Film Box Set, as Seen Through Ebert’s Eyes
Ingmar Bergman, Godfather of Horror
Ingmar Bergman (1918 -2007)
Ingmar Bergman: In Memory
Defending Ingmar Bergman
On the set with Ingmar Bergman
Bergman’s Hour of the Wolf: Another Look at an Underrated Masterpiece
Cannes 2021 Video #5: Bergman Island, Flag Day, Stillwater
Cannes 2021: Bergman Island, Drive My Car, The Innocents
Re Bergman: Rosenbaum responds to Ebert
Bergman and Antonioni: Commercial moviemakers
Bergman: Sawdust and Tinsel?
Mourning (and assessing) Bergman
Fighting over Bergman’s legacy
Artists pay tribute to Bergman
Liv Ullmann and memories of Bergman
A Sort of Frankenstein Experiment: Hagai Levi on Remaking Scenes from a Marriage
A conversation with Atom Egoyan
My coverage of the first Sundance Film Festival, held in *July* 1981
Maria Schneider comes to America
The Hitchens/God challenge & The Atheist Film Fest
TIFF 2007 Wrap: Personal best & indelible images
Elected: 100 Must-See Foreign Films
Holy theology! Holy film!
Alien vs. Predator, Chigurh vs. Plainview
The answer is: Merv, Movies & “Jeopardy”
The 100 Most Acclaimed Movies of the 20th Century
Who matters?
Which great director is not-so-great?
Holy Holes
Ebert Strikes Back
The actor as form for the film
Cannes #1: On a darkling plain
This is Just the Beginning: Pamela Anderson on “The Last Showgirl”
A Careful Performer: Maggie Smith (1934-2024)
Venice Film Festival 2024: The Biennale College
The Gene Siskel Film Center Celebrates the First and Last of Famous Filmmakers with their Entrances & Exits Series
Cannes 2024: Armand, The Kingdom, September Says
I’ve Never Seen Anything Like It Before: Roger Corman (1926-2024)
It’s OK, Boomer: The Big Chill Turns 40
A Shocking Loss: Dariush Mehrjui (1939-2023)
NYFF 2023: May December, Kidnapped, Close Your Eyes
To Return to Innocence From the Other Side: Christian Petzold on Afire
Tapping Into the Infinite: Alexandre O. Philippe on Lynch/Oz
Home Entertainment Guide: April 2023
The Key to Directing is Nurturing: Goran Stolevski on Of an Age
Home Entertainment Guide: January 2023
I Wanna Be Free: Bob Rafelson (1933-2022)
15 African-American Filmmakers and Roger Ebert’s Birthday Retrospective Reviews
Roger’s Top Ten Lists: Best Films of 1973
Home Entertainment Guide: December 2021, The Criterion Collection
Lyric Opera’s The Magic Flute Named Best Theatre Show by Time Out Chicago
Being Alive: Stephen Sondheim, 1930-2021
A Preview of the 57th Chicago International Film Festival
Telluride Film Festival Announces Full 2021 Program Lineup
KVIFF 2021: A Conversation with Ethan Hawke
Art Alone Endures: A Parisian’s Take on the 2021 Cannes Film Festival
Thumbnails Special Edition: The Legacy of Siskel & Ebert
Cannes Film Festival Preview 2021
Forget the Alamo: The Silver Anniversary of Lone Star
Enter the World of Wong Kar Wai with One of Criterion’s Best Box Sets
Meet the Writers: Carlos Aguilar
The Essential Fellini is a Wonderful Gift for Cinephiles
Being Human Is Heroic: Melora Walters on Waterlily Jaguar, Drowning, Magnolia and More
The Illusionary Quality of a Dream: Stella Hopkins on Her Directorial Debut, Elyse
It Was Great To Play An Actual Cartoon!: Fifteen Minutes With Paul Dooley on Popeye
Home Entertainment Guide: October 2020
Venice Film Festival 2020: In Between Dying, The Best is Yet to Come, Topside
Subversive Sensuality: Isabel Sandoval on Lingua Franca
The Complete Works of Agnès Varda is Essential Viewing
Get Lost in Bruce Lee’s Greatest Hits from Criterion
Upholding Black Voices: An Annotated Table of Contents
Criterion Releases Wonderful Box Set of Eric Rohmer’s Six Moral Tales
This Beautiful, Stressful, All-Consuming Thing: Alex Wolff on Castle in the Ground
Max von Sydow: 1929-2020
Quake at the Wonder of Godzilla with Phenomenal Criterion Box Set
Telluride 2019: Ford v. Ferrari, Uncut Gems, Marriage Story
Viewing Midsommar, Us, and Lords of Chaos Through the Persona Filter
Home Entertainment Consumer Guide: July 11, 2019
Home Entertainment Consumer Guide: February 21, 2019
The Best Current Source for Streaming Classic Movies is … Amazon Prime?
Jonathan Rosenbaum on His New Book Collection, Cinematic Encounters
Bernardo Bertolucci: 1941-2018
NYFF 2018: The Slows, In My Room, Sorry Angel, Too Late to Die Young
My Telluride Film Festival Diary 2008
Home Entertainment Consumer Guide: July 5, 2018
I Have Seen Grace: Revisiting Harriet Andersson’s Classic Performances
The Ten Best Films of 2017
TIFF 2017: “You Disappear,” “Disappearance”
Scientific Cinema: Michael Almereyda on “Marjorie Prime”
Defense for the Damned: John Waters on “Serial Mom”
Haunting Magic: On “Eve’s Bayou,” 20 Years Later
Thumbnails 3/17/17
Unlimited Potential: Olivier Assayas on “Personal Shopper”
Winners Announced for Great Movies IV Giveaway
Bright Wall/Dark Room October 2016: “The Varieties of Religious Experience” by Matt Brennan
