- Today is Agnès Varda's 90th birthday. In accordance, we have to re-share cléo's latest issue dedicated entirely to the auteur.
- Acclaimed French auteur Jacques Audiard has finally made his first American film, in the form of a star-studded Western. Check out the trailer below.
- We're equally fans of both the recording artist Mitski and filmmaker Zia Anger. Thus, we're naturally enamored by this new song and video for "Geyser," which finds Anger's usual graceful compositions and blocking further animating the gorgeous new track.
- Below: MoMA curator Dave Kehr shares details on the many difficulties of restoring Ernst Lubtisch's first American film, Rosita.
- In the event of the major Sylvia Chang retrospective at New York's Metrograph, writer Fariha Róisín has penned a lovely overview of the many talents of the master actress and filmmaker for The Village Voice. Just in case you missed it, Sean Gilman also offered an extensive celebration of Chang's achievements thus far here at Notebook.
- At Film Comment, the discussion and efforts of restoration continue with Christopher Nolan regarding his new restoration of 2001: A Space Odyssey.
- We quite enjoyed this takedown of Solo: A Star Wars Story, or as critic Steve Macfarlane puts it, "another [...] installment in the world's longest and most expensive screensaver." Conversely, Kofo Owokoniran honors the unique cinematographic abilities of Solo's cinematographer, Bradford Young, at One Room With a View.
- In the event of the 20th anniversary of The Last Days of Disco, the always astute K. Austin Collins honors Whit Stillman's masterpiece for Vanity Fair.
- The defiant, subversive Canadian independent filmmaker Bruce LaBruce has provided his equally defiant list of his ten favorite films of the last ten years to Grasshopper Film.
- An essential read: Notebook contributor Kelley Dong has penned a thoughtful consideration of "three movies from the North Korean canon [which] complicated misconceptions" for The Village Voice.
- In case you missed it, Paul Schrader has revised his Transcendental Cinema diagram to incorporate a host of contemporary filmmakers. The results are both erudite and beguiling.