The Music of Strangers: Yo-Yo Ma and the Silk Road Ensemble
Wu Man
Herself
Herself Movie Reviews
Blog Posts That Mention Herself
Cinema of Herself: On Four Short Films by Haaniyah Angus
Sundance 2020: The Glorias, Herself, Four Good Days
Figuring Things Out For Herself: Hailee Steinfeld on “The Edge of Seventeen”
TIFF 2014 Interview: Jane Levy Sings Herself to Stardom
Will “Mean Girl” Palin herself appear on SNL?
Answered by Zuzu herself: The color of Zuzu’s petals
“Dispatch” is a Superhero Drama Equally Mighty and Emotional
Wong Kar-wai’s Gorgeous, Captivating “Blossoms Shanghai” Arrives on the Criterion Channel
Tokyo Film Festival 2025: “Demon Pond” and Japanese Yokai Culture
It’s The Funniest Shit: Hikari on ‘Rental Family’
Right Now, It’s Important: An Ode to S.E. Hinton’s Teenagers
“Landman” Might Be the Dumbest Fracking Show on TV
Tokyo Film Festival 2025: “Sato and Sato,” “Blue Boy Trial,” “Poca Pon,” “Blonde”
Tokyo Film Festival 2025: “Mother Bhumi,” “Morte Cucina,” “We Are the Fruits of the First,” “Tunnels: Sun in the Dark”
Tokyo Film Festival 2025: Journey into Sato Tadao
Vince Gilligan’s Riveting “Pluribus” Is the Television Event of the Year
You’re Living Intrusive Thoughts: Jennifer Lawrence and Lynne Ramsay on “Die My Love”
Female Filmmakers in Focus: Sepideh Farsi on “Put Your Soul on Your Hand and Walk”
Flying with Her Angels: Diane Ladd (1935-2025)
HBO’s Zennial Comedy “I Love LA” Lets Rachel Sennott Navigate Life, Love, and Influence
“The Witcher” Changes Its Face and Loses Some Of Its Magic in Season 4
Apple TV Sends Ruth Wilson and Emma Thompson “Down Cemetery Road” in Stylish Fashion
CIFF 2025: Silent Friend, Calle Malaga, Belén
How to Define Freedom: Nia DaCosta on “Hedda”
In Mubi’s “Hal & Harper,” Cooper Raiff Has a Hard Time Growing Up
The 11 Best Body-Swap Movies, Ranked
NYFF 25: The Currents, Gavagai, Is This Thing On?
It’s A Process: Kelly Reichardt on “The Mastermind” and Josh O’Connor’s Timeless Mug
You Play Well: Diane Keaton (1946-2025)
Some Things You Consume, Some You Experience: Mary Bronstein on “If I Had Legs I’d Kick You”
Female Filmmakers in Focus: Rebecca Miller on “Mr. Scorsese”
Why “I’m Still Here” Will Always Be a Powerful Watch
Hulu’s “Chad Powers” Wastes Talents of Glen Powell
Fantastic Fest 2025: CAMP, Bad Haircut, Theater is Dead
Fantastic Fest 2025: Night Patrol, Dolly, Dinner to Die For
The First Responders of the Internet: Lili Reinhart on “American Sweatshop”
TIFF 2025: A Canadian Viewpoint on the Toronto International Film Festival at 50
Apple TV+’s “The Morning Show” Piles On More Oscar Winners As The Show Loses Steam
“Gen V” Rivals “The Boys” in a Sharper and Sleeker Season Two
TIFF 2025: Blue Heron, Amoeba, Meadowlarks
TIFF 2025: Christy, Couture, Steal Away
TIFF 2025: The Christophers, &Sons, Dead Man’s Wire, Tuner
TIFF 2025: Mile End Kicks, Maddie’s Secret, Poetic License
TIFF 2025: Motor City, I Swear, Canceled: The Paula Deen Story
TIFF 2025: Wasteman, Winter of the Crow, Charlie Harper
Telluride Film Festival 2025: The Bend in the River, Summer Tour, This is Not a Drill
Something Wretched This Way Comes in the Second Half of “Wednesday” Season Two
An Ode to the Unanswered Questions in “Agnes of God”
Locarno Film Festival 2025: 14 Films Commemorating Postwar Britain
Locarno Film Festival 2025: Prejudice Across the Pond in “Pool of London” and “The Story of a Three-Day Pass”
Netflix Brings “Wednesday” Back to Nevermore for a Spookier, Stranger Season 2
Short Films in Focus: The Vacation
SDCC 2025: Celebrating ALL the Popular Arts
Fantasia 2025: Mother of Flies, The Virgin of the Quarry Lake, Foreigner
Fantasia 2025: The Serpent’s Skin, The Well, Sweetness
Book Excerpt: That Very Witch: Fear, Feminism, and the American Witch Film by Payton McCarty-Simas
Hulu’s “Washington Black” is Fueled by Steampunk and Epic Adventure
KVIFF 2025: “Bidad” Director Soheil Beiraghi on Filming Undercover, Amplifying the Voices of Iranian Gen-Z Women
KVIFF 2025: Broken Voices, Out of Love, Don’t Call Me Mama
The 10 Best Oasis Needle Drops
The Lonely Landscapes of “Materialists” and “The Worst Person in the World”
Female Filmmakers in Focus: Victoria Mahoney on “The Old Guard 2”
Friendship Is Insane: Eva Victor on “Sorry, Baby”
Desire Never Goes Away: Sarah Friedland and Kathleen Chalfant on “Familiar Touch”
The Light She Left Behind: Ananda Lewis (1973-2025)
Transformative Third Season of HBO’s “The Gilded Age” Dazzles and Delights
“Zola,” “Anora,” and the DEI Mirage
Tribeca Film Festival 2025: The Narrative Features
Tribeca Film Festival 2025: The Documentaries
The 20 Best Films of 2025 So Far
Gifts in the Impediment: Nina Conti and Shenoah Allen on “Sunlight”
Female Filmmakers in Focus: Marva Nabili on “The Sealed Soil”
59th Karlovy Vary Film Festival Announces Official Selection and Juries
How to Be Human: A Personal Response to John Carpenter’s “Starman,” Now in 4K
Excellent Cast Struggles to Hold Together Plodding “Dept. Q”
Cannes 2025: The President’s Cake, Death Does Not Exist, Peak Everything
Cannes 2025: The Mastermind, Young Mothers
Cannes 2025: Un Poeta, Teste O Croce?
Cannes 2025: Yes, Woman and Child, The Six Billion Dollar Man
Cannes 2025: It Was Just an Accident, Alpha
Cannes 2025: A Private Life, The Disappearance of Josef Mengele
Movies That Deal with the Peculiarities of Being a Teenager: Bruce Handy on His New Book about Teen Movies
“Nine Perfect Strangers’” Second Season is Less Insightful, Still Somewhat Fun
Cannes 2025: The Chronology of Water, Urchin
Cannes 2025: Die My Love, Pillion, Miroirs No. 3
Though Uneven, ‘Overcompensating’ Is a Promising New Comedy
Movies without Tariffs: A Preview of the 2025 Cannes Film Festival
Season 2 of Peacock’s “Poker Face” Deals Natasha Lyonne Another Hand of Devilishly Delightful Mysteries
What to Watch on Netflix: May 2025
Chicago Critics Film Festival 2025 Preview
Doc10 Launches 10th Anniversary Edition with Some of the Best Non-Fiction Films of 2025
The Dream Within the Fairy Tale: Emilie Blichfeldt on “The Ugly Stepsister”
Apple TV’s “Government Cheese” is Almost Great
Chicago Critics Film Festival Announces Full Schedule, Special Guests
A True Sense of the Eerie, or Why I Love the Hell House Films
“South of Midnight” is a Colorful PS2 Throwback
Netflix’s Intense and Seductive “Pulse” is the Streamer’s Best Show in Years
Ebertfest Announces Remaining Films and Special Guests Attending the 2025 Festival
Prime Video’s “The Bondsman” Takes Kevin Bacon on a Drab Trip to Hell and Back
