The turbulent late ’60s saw the technique’s popularity explode—and it’s been helping moviemakers (and literary artists) engage with the unsettling tempos of modern life ever since.

The filmmaker’s follow-up to Past Lives is cerebral and frank about wealth and romance.

It’s also a rollicking not-quite thriller about family, financing, and (broadly) filmmaking itself.

The filmmaker’s tale of modern China probes the emotional toll of living through two decades of social upheaval.

Obviously this is a well-conceived plan by a very stable genius.

Two Dylan films—one very popular, the other quite obscure—stand out from the rest.

In his new film, Shrouds, paranoia seeps into the afterlife.

In an evening light on politics and controversy (mostly), host Conan O’Brien turned the show into a boosterism event for the film industry.

The new film, starring Marianne Jean-Baptiste, is a tender examination of dissatisfaction.

The filmmaker, who died this week, mixed the menacing with the everyday, the banal with the surreal and sublime.

The biopic starring Timothée Chalamet is a star-is-born fable viewed with 20/20 hindsight and through rose-tinted glasses.

The symbolism in Brady Corbet’s movie is heavier-handed than a fistful of concrete and steel.

“The Room Next Door” is not quite willing to confront its subject in all its difficulty.

Luca Guadagnino makes William S. Burroughs’s novella a love story that is sordid, pathetic, affecting, and true.

“Rumours” imagines a version of the G7 where world leaders descend into absurdity.

Jason Reitman’s movie is an ode to Lorne Michaels, afraid to take even small risks.

The latest installment lacks the imaginative strangeness of the earlier films.

“Trap” is an escape-from-the-room thriller as well as a touching exploration of a father-daughter bond.

The space rom-com with Scarlett Johansson and Channing Tatum doesn’t know what it wants to be.

Nostalgia is Kevin Costner’s specialty, from hits like “Field of Dreams” to revanchist epics like “Horizon.”