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Published by Film at Lincoln Center

Imogen Sara Smith

In the Moment: Too Late to Die Young and The Wandering Soap Opera

By Imogen Sara Smith
May 30, 2019
Youth and revolt: two Chilean films approach memory and politics from different perspectives

Ghost Dance: The White Crow and Nureyev

By Imogen Sara Smith
April 29, 2019
Bird on a wire: the life of legendary dancer Rudolf Nureyev might have been written for the screen

Magic Touch: The Eyes of Orson Welles and The Mystery of Picasso

By Imogen Sara Smith
March 14, 2019
Looking and seeing: two films about genius, perception, and visual communication

Neither Here Nor There

By Imogen Sara Smith
March 1, 2019
Always leaving or being left behind, the refugee protagonists of Christian Petzold's Transit circulate on the tides of war and history

Tunnel Vision: The Hidden City and City Symphonies

By Imogen Sara Smith
February 5, 2019
Celebrating the kino-eye: The Hidden City, screening in Film Comment Selects, is part of a tradition extending to the beginnings of cinema

Waste Lands: Sunset and A Fortunate Man

By Imogen Sara Smith
February 1, 2019
Bright lights, big city: Two films explode, in very different ways, an age-old narrative trope

Capturing Chaos: Capernaum and the Children of Neorealism

By Imogen Sara Smith
December 24, 2018
Street scenes: where does Nadine Labaki's new film about two bereft children fit into the legacy of Neorealism?

Loving Memory: After Life and Shoplifters

By Imogen Sara Smith
November 26, 2018
The comforts of home: Hirokazu Kore-eda's Shoplifters and After Life bring out the fond detail of daily life

Festivals: Pordenone 2018

By Imogen Sara Smith
November 6, 2018
Silent treatment: a specialized festival continued to present illuminating riches from the past with the highest standards of presentation

Blues for the Iron Curtain: Cold War and Red Boogie

By Imogen Sara Smith
October 30, 2018
Chill wind blows: Pawel Pawlikowski's latest film shares points of romantic and musical comparison with a film by Karpo Godina

Ghosts and Replicas: Bisbee ’17 and Museo

By Imogen Sara Smith
September 20, 2018
Once more with feeling: one hybrid film and one fiction film look at the reenactment and preservation of contentious pasts

The Liberation: Jacques Becker and Memoir of War

By Imogen Sara Smith
August 28, 2018
Scenes between the scenes: the brilliant French director of Edouard and Caroline and Rendezvous in July deserves a place on par with the New Wave that followed

Beautiful Work: The Female Gaze in Beau Travail, La France, and The Romance of Astrea and Celadon

By Imogen Sara Smith
July 24, 2018
The way I see it: a series on female cinematographers at the Film Society of Lincoln Center invites a closer look at how we look

Hard Traveling: Araby, Gabriel and the Mountain, and Vagabond

By Imogen Sara Smith
June 22, 2018
Miles to go: two clear-eyed new films of people on the move follow in the footsteps of Varda’s story of a drifter

Word Pictures: The Day After, with The Seagull and On Chesil Beach

By Imogen Sara Smith
May 24, 2018
Wrapped up in books: the different levels of narrative and time in a trio of tales about lovelorn men

Cities and Exiles: In the Last Days of the City and Art of the Real x 2

By Imogen Sara Smith
April 24, 2018
No home movie: three films that confront the realities of displaced people in very different situations

Feeling at Home: Our House, Drift, and Western

By Imogen Sara Smith
March 29, 2018
Faces places: two New Directors films and Grisebach’s latest rethink how people relate to the spaces they’re in

In Our Time: Abbas Kiarostami’s 24 Frames

By Imogen Sara Smith
February 6, 2018
Moving stills: Abbas Kiarostami’s final film expresses the beauty of the medium and its status as memento mori

TCM Diary: The Mosjoukine Effect

By Imogen Sara Smith
December 1, 2017
We had faces then: on the Russian actor who elucidated the power of cinematic empathy and projection

Rep Diary: A Trip Down Poverty Row

By Imogen Sara Smith
October 17, 2017
The strength of street knowledge: the Museum of Modern Art’s Poverty Row series puts a spotlight on high quality, low-rent films