On October 24, 2025, the actor and director Christopher Guest took the stage for a discussion with the New Yorker staff writer Ariel Levy, as part of The New Yorker’s 26th annual Festival, a weekend of conversations, screenings,...
I don’t think I viscerally understood the importance of a Christmas tree, or a Hanukkah menorah, or a St. Lucia’s crown until I moved into an apartment with lots of windows: the night is long and dark out...
This comparatively reduced terrain has often served as complement to her husband’s much grander vistas. “I am the observer, the audience watching the action as if in a theater,” she writes, in “Two of Me,” of visiting Francis...
Kader Attia’s film “La Valise Oubliée” (2024) cracks open a well of family memories, employing photographs and archival materials buried in three suitcases to unpack stories about the history of the Algerian independence struggle. The question of cultural...
Watch the Irish director John Kelly’s “Retirement Plan” and, if you are in any way creative or ambitious, you’ll kick yourself wondering, Why didn’t I think of that? Because it’s so simple: a list of things a man...
That word, instantly identified with the French New Wave, is missing from “Nouvelle Vague,” an absence that comes off not as an accident but as a declaration by Linklater that’s far louder for being silent than a simple...
History is littered with examples of the havoc wreaked by politicians’ will to power. No wonder, then, that voters cling to the fantasy of the self-effacing candidate—the kind who demonstrates his worthiness of the office by not wanting...
On October 26, 2025, the New Yorker staff writers Larissa MacFarquhar, Rebecca Mead, Ian Parker, Kelefa Sanneh, and Michael Schulman joined the executive editor Daniel Zalewski onstage at the 26th annual New Yorker Festival, a weekend of conversations,...
Maybe it’s the lack of heat: La Boca is beautiful, and expensive, and charismatic, but it is also very bad. I ate there on three occasions, marvelling each time at the gulf between the appealing scene in the...
For Roversi, the studio is “like an empty stage, a space waiting to be filled, a time yet to be invented, where neither seasons, nor days, nor hours exist.” He is clearly caught up in the romance of...
