Holly and Major Calloway have just made a dreary stopover: the ghastly disgust that now oozes from Holly’s facial expression is the result of a visit to a hospital where meningitis-afflicted children, unable to benefit from the penicillin that Harry Lime has stolen and sold on the black market, lie dying from deformity and escalating […] Holly and Major Calloway have just made a dreary stopover…

British filmmaker Andrea Arnold shares her thoughts on cinema and her modern adaptation of Wuthering Heights. “I’m fascinated with what an audience will take away from an image. Bresson said something like, ‘A look in the eye can start a war,’ and it’s true.”

To be perfectly honest, I’ve been looking forward to this still ever since we started this project, not because of its importance as a turning point in Holly’s tragic life, not because of its striking compositional elements (there are sharp diagonals everywhere!) but just because of the hilarious visual comparison between Calloway’s silly mustache, and […] To be perfectly honest, I’ve been looking…

“I’m not entirely convinced that digital technology is sophisticated enough to compare with the quality of celluloid on a big screen,” says Joshua Siegel, who organized MoMA’s cinema preservation festival of rare, restored works on film, which opens this week.

The British Film Institute announced this week that it’d be making selections from its vast archive available online. By the end of 2013 it plans on releasing the online BFIPlayer, and by 2017 it hopes to have 10,000 titles digitized.

When we opened the remodeled Walker Cinema last June, we selected This Is Not a Film by Iranian Jafar Panahi as one our first screenings. His “film”–made during his house arrest in Tehran and reflecting on his pending six-year prison sentence and 20-year ban on making movies–was an in-the-moment diary tinged with humor but also […] When we opened the remodeled Walker Cinema last June, we selected…

After Tuesday’s metacinematic interlude, vivified by the intricate connection between cinema and railroads, we’re back to the story proper: Anna has sharply lambasted Holly for agreeing to cooperate with the police and turn in Harry Lime, tearing her passport (which Holly helped procure) in half and tossing his overcoat brusquely on the floor of the train station. A dissolve segues from the…

“There was no film-making culture here at all under Gaddafi,” says Libyan filmmaker Naziha Arebi. “He didn’t want anybody to be more famous than him.” Now, a year after the dictator was ousted, Libya is undergoing an unexpected cinematic revolution.

The opening of Jem Cohen’s Occupy Wall Street newsreels—shot through the window of a Brooklyn subway car—uncannily echo a series of videos from two years earlier. Cell phone footage of an Oakland train platform documents the 2009 shooting death of Oscar Grant III by transit police. For Ben Stork, this citizen videography captures the spirit of works in the Walker’s Cinema of Urgency series.