Martin Scorsese’s World Cinema Project has been discovering and restoring vital international films since 2007, and in its 13 years of existence has preserved 42 movies from 25 countries. Scorsese’s mission is not simply rescuing and protecting these movies, many of which would likely vanish into obscurity and physical deterioration without his Film Foundation’s assistance, but making sure they are widely available to be enjoyed by world audiences. Scorsese’s latest effort in this regard is the indispensable new Criterion boxed set Martin Scorsese’s World Cinema Project 3, which, like the two collections that preceded it, gathers six seminal works from […]

Martin Scorsese’s The Irishman, based on hitman Frank Sheeran’s (Robert De Niro) account of the murder of Teamster luminary Jimmy Hoffa (Al Pacino), talks back to its characters’ memories as much as it does the director’s past films. It’s Sheeran’s perspective told from Scorsese’s, executed by his go-to cinematographer since The Wolf of Wall Street, Rodrigo Prieto. Sheeran confessed to murdering Hoffa, the dear friend he served as bodyguard. But Hoffa’s true cause of death is still subject to speculation, as are details of Sheeran’s recollection. “Some people are mulling over what’s accurate and what’s not accurate, and I don’t […]

Stephanie Kurtzuba plays Irene, wife of Frank Sheeran (Robert De Niro), in The Irishman. It’s her second film with Martin Scorsese. She played stockbroker Kimmie Belzer in The Wolf of Wall Street. She talks about working with the legendary filmmaker and what sets him apart as an actor’s director. She also explains her process of extracting preconceptions made in the audition, and she gushes about her first love–the rehearsal room, but tells us why, despite her heart being on the stage, she wouldn’t give up working for the camera if she could. Plus much more! Back To One can be […]

“We tried to do everything we could.” “What do you mean?” “You know what I mean. He’s gone. And we couldn’t do nothing about it.” So kicks off an iconic sequence in Martin Scorsese’s Goodfellas, the emotional summit of a movie that’s basically one iconic sequence after another: the moment on the pay- phone when Jimmy “The Gent” Conway (Robert De Niro) hears his old friend Tommy DeVito (Joe Pesci) has just been whacked. Jimmy doesn’t just hang up — he bashes the phone into the receiver, finally stomping the booth into the ground between muffled sobs while the film’s narrator, […]

A number of cinematic styles, narrative modes, and political agendas collide in Bacurau, one of two South American films on NYFF’s Main Slate this year. Urgent, yet vague enough to feel timeless, the film depicts a form of unhinged white supremacy in the outback of northern Brazil. We’re told up top, quite ominously, that Bacurau takes place “a few years from now,” as if to suggest that the wholly irrational racism herein is just around the corner. An angry movie, at once frightening and funny, it’s bound to rattle viewers aesthetically, politically, or both. Bacurau, a fictional town, is already […]

The opening shot of The Irishman* is a signature Steadicam glide through a nursing home soundtracked by doo-wop (The Five Satins’ 1956 “In The Heat of the Night”), slowly making its reverential way to an close-up of Robert De Niro—a suitably majestic re-introduction of both the actor as persona and his character, hitman Frank Sheeran. Sheeran lived until 2003, and (minus one brief WWII combat service flashback) the film picks him up sometime in the early ’50s. If the opening shot is as close to the present day as possible (2003, I hate to remind you, was already 16 years […]

On a scale of one to ten, I’m probably about a 6.5 when it comes to Bob Dylan. Define one as “Dylan is the single most visible/still living manifestation of hyper-steroidal Boomer nostalgia and must be destroyed,” ten as the level of obsessiveness practiced by the singer-songwriter’s personal scourge A.J. Weberman, who literally coined the term “Dylanology” and famously dug through Robert Zimmerman’s trash for clues. Dylan wasn’t having it; in Weberman’s indelible telling: I’d agreed not to hassle Dylan anymore, but I was a publicity-hungry motherfucker… I went to MacDougal Street, and Dylan’s wife comes out and starts screaming […]

This video essay examines Thelma Schoonmaker’s key contributions to Martin Scorsese’s work by taking a closer look at two scenes from Raging Bull. Bonus: footage of the Scorsese exhibition currently on display at the Eye Filmmuseum in Amsterdam.

Martin Scorsese famously considered becoming a priest before taking another path, and he clearly never lost the evangelical impulse. In the 38 years since Scorsese used his influence and finances to restore and rerelease Michael Powell’s Peeping Tom, he has done more to spread the gospel of cinema than any other director in film history, devoting countless hours to film preservation and education while simultaneously amassing a body of work that in its breadth, depth, and quality rivals that of any of the masters his scholarly efforts aspire to honor. In 2007 Scorsese embarked on one of his most important […]