Reverse Shot A different angle on moving images—past, present, and future

We’re in the highly radicalized, politicized, and deeply angry world of British filmmaker Peter Watkins, probably the greatest filmmaker that you’ve never heard of. Watkins’s Punishment Park is his deepest incursion into the American psyche, and the centrality of violence in American political and social life.

Sembene's film is a feminist parable painted in a riot of bold colors and told with a jauntiness that belies the soberness of his themes about women coming together to make a change in their own homes and communities.

Two of Assayas’s recent films, Late August, Early September (1998) and Les Destinées (2001), while appearing to be diametric narrative opposites, reach similar conclusions about the nature of work and humanity.

Gillo Pontecorvo’s The Battle of Algiers (1966) features none of these characteristics; it is that rarest of things, a truly dangerous war film.

Spellbound, the documentary by Jeffrey Blitz, is the equivalent of a Matisse in a Mickey Mouse frame.