David and Trevor discuss LOVE LETTER and THE MOON HAS RISEN, the first of three episodes reviewing KINUYO TANAKA DIRECTS, new from the Eclipse Series from the Criterion Collection.
David and Trevor discuss LOVE LETTER and THE MOON HAS RISEN, the first of three episodes reviewing KINUYO TANAKA DIRECTS, new from the Eclipse Series from the Criterion Collection.
An in-depth conversation about director John Singleton, the subject of Criterion's new Hood Trilogy box set.
David, Trevor and guest William Remmers wrap up their coverage of the set to talk about THE SMILING LIEUTENANT and ONE HOUR WITH YOU.
David and Trevor are joined by William Remmers to discuss THE LOVE PARADE and MONTE CARLO, the first two films in this reissued set of classic Pre-Code musical comedies.
David and Trevor wrap up their coverage with a conversation about six "school films" shot between 1975 and 1989.
Aaron West's upcoming book covers the rise of A24 from its first releases in 2012 up to the beginning of the COVID-19 pandemic in early 2020.
David and Trevor discuss five films shot between 1978-1984 that offer Kiarostami's insight and indirect critique of Iranian politics and culture.
For February, the Channel will feature films from Mervyn LeRoy, Héctor Babenco, John Woo, and more!
Ira Sach's latest will stream later this month.
New coming of age film is director Celine Sciamma's third, and arguably best, feature film.
Essay documentary looks at a myriad of things, from Vertigo to the Mexican American War.
New thriller looks at the dark side of a connected society.
Low-budget thriller takes to Park City for this year's Slamdance Film Festival.
One of the great romance films makes its Blu-ray debut.
Tony Zhou's Every Frame A Painting series looks at the geometry of Kurosawa's 1960 film.
Ryan and Brian chat about the week's new DVD and Blu-ray news and new releases.
New documentary looks at the recovery of a legendary pro-wrestler.
From a new comedy series to an animated classic, here are five things you must stream this weekend.
Director Peter Strickland’s gorgeously strange and sensuous new film is not to be missed.









