At Cannes, Inspiration From Ancient Romans and Modern Women
Though the history-inflected “Furiosa” and “Megalopolis” were the hottest tickets, films by Andrea Arnold and Rungano Nyoni proved to be discoveries.
By Manohla Dargis
I review a wide range of work across the globe, from blockbusters to independent productions. I also write movie-related essays and report on festivals, which are crucial to the vitality of the international film ecosystem. Reviews are news as well as a type of service journalism: I steer readers toward good movies, warn against bad ones and encourage filmgoers to seek out the unexpected. I strive to offer more than a plot synopsis or a catalog of faults and beauties. I examine how movies work and why (or don’t), and how they work on us. I am interested in beauty and feeling, style and form, culture and history. My personal history and preferences factor into my writing, but these are in service to the reader and to the art.
I grew up in the East Village in New York City, where I attended public schools and spent a lot of time going to the movies. My life in journalism began when I started writing for The Village Voice while getting a master’s in cinema studies. In 1994, I moved to Los Angeles to join the L.A. Weekly as a staff film critic, and later I became its film editor. From there, I went to The Los Angeles Times, where I was a co-chief film critic; I joined The Times in 2004. I wrote a monograph on “L.A. Confidential,” and my work has been published in several anthologies. In 2007, I returned to graduate school to obtain a Ph.D. in cinema studies. I have taught at several colleges, which I loved. I’m a repeat finalist for the Pulitzer Prize in criticism.
As a Times critic, I am committed to upholding the standards of integrity outlined in our Ethical Journalism Handbook. As a consequence I don’t belong to film critic organizations, I don’t sit on prize juries and I don’t accept payment from institutions I write about; in addition, I don’t write about movies directed by friends and avoid Hollywood parties (although I like going to the Oscars). The Times pays for my work-related travel so that means I usually fly economy. I do not publicly broadcast my politics, but I do vote. And while I may be a tough critic, I always strive to be fair.
I may not be able to respond, but I will read your email.
Email: dargis@nytimes.com
Though the history-inflected “Furiosa” and “Megalopolis” were the hottest tickets, films by Andrea Arnold and Rungano Nyoni proved to be discoveries.
By Manohla Dargis
Francis Ford Coppola’s first movie in more than a decade reveals a filmmaker not content to rest on his laurels.
By Manohla Dargis
The fifth installment of George Miller’s series delivers an origin story of Furiosa, the hard-bitten driver played here by Anya Taylor-Joy.
By Manohla Dargis
Ryusuke Hamaguchi follows up his sublime drama “Drive My Car” with a parable about a rural Japanese village and the resort developer eyeing its land.
By Manohla Dargis
The actor charms as a swaggering stunt man, alongside an underused Emily Blunt, in the latest skull-rattling action movie from David Leitch.
By Manohla Dargis
Zendaya, Josh O’Connor and Mike Faist play friends, lovers and foes on and off the tennis court in Luca Guadagnino’s latest.
By Manohla Dargis
Beefed up and bloodied, Bill Skarsgard goes mano a mano against disposable hordes in this dystopian action flick.
By Manohla Dargis
Minhal Baig’s third feature follows two boys living in a public housing complex in Chicago as they cope by building their own dream worlds.
By Manohla Dargis
In this cheerfully unambitious vampire movie, a bloodsucker is shut up in an old mansion with some nitwit criminals. Will there be gore? You bet.
By Manohla Dargis
Here’s why you should watch it anyway.
By John White, Larissa Anderson, Melissa Kirsch, Manohla Dargis and Carole Sabouraud