Roger Moore, third actor in the James Bond franchise, died at age 89. Considered the most suave personification of the legendary secret agent, the actor thought there were worse labels to wear the rest of one’s life. As a matter of fact, he considered himself incredibly lucky to have been selected to step into the uninimitable Sean Connery's shoes whom he wisely didn’t try to copy, becoming his own James Bond.

Several viewings of the trailer for “Hidden Figures” before my usual cinema-going routine failed to convince me that it was a film worth seeing. On the strength of those two minutes, I quickly pegged it as yet another moral, inspirational tale about disadvantaged people overcoming great odds. Talk about disadvantage. The three main characters in question are women--not easy today and even less easier in 1961--and black

The mood is melancholy, the road ahead unclear. Which may explain the slew of biographical and autobiographical novels and films in a meandering Proustian fashion that go for the past. And, just like Proust’s oeuvre, never boring but intriguing and beguiling at the same time. After the Norwegian Karl Ove Knausgaard’s six-volume memoir, “My Struggle,” the gorgeous Mike Mills film, “20th Century Women.” I hadn’t seen “Beginners”

After too many Metaphysics 101 (Malik’s “Tree of Life” and Gaspard Noe’s “Love” come to mind) and anguished what’s-the-meaning-of life questions awkwardly addressed, Denis Villeneuve’s “Arrival” takes us into adult territory. The Canadian filmmaker has already accustomed us to his diverse and masterful corpus of works, so his venture into Twelve spaceships, for lack of a better word, land in various parts of our planet where they

French screen icon, famously cast in her first major part in New Wave Alain Resnais’s first film, “Hiroshima mon amour,” legendary actor Emmanuelle Riva died in Paris yesterday. At age eighty-nine she has had a career that’s spanned five decades, starting with auteur filmmakers in the sixties all the way to her heartbreaking and understated portrayal of an Alzheimers victim in Michael Haneke’s 2013 “Amour,”

The Cannes Festival is long behind us. Audiences have gone home, replaced on the French Riviera by vacationers and a number of controversies, nothing to do with the silver screen. Still, some may remember that the jury, headed by “Mad Max” director George Miller, had dutifully doled out its awards to Cannes stalwarts—Ken Loach, Xavier Dolan, Cristian Mungiu, Olivier Assayas, no surprises there. It was all as expected

Kiarostami, that filmmaker who spoke in a sweet and elegant voice and made the slow films that have, for long, been part of the pantheon, died nearly two weeks ago. Remembering an article that was published about twenty years ago I dug through an old box and found a Chanteh, a lit quarterly published in the D.C. area that was about Iranians. A special issue on Iranian cinema came out in spring of 1996 . One of the sections