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  • Manohla Dargis

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Sean Baker’s Oscars Battle Cry (and Mine): Don’t Abandon the Big Screen

The director of the best picture winner, “Anora,” urged viewers to keep seeing films in theaters. Our critic hopes the industry listens, and that Baker…

There’s a New Kind of Woman Onscreen, Thanks to Women Behind the Camera

In movies like “The Last Showgirl,” a new kind of woman has emerged onscreen, our critic writes. That’s thanks to more of them being behind…

‘Art Spiegelman: Disaster Is My Muse’ Review: Graphic Doom

In this straightforward documentary, the acclaimed cartoonist reflects on his Holocaust memoir, “Maus,” and other masterworks of subversion.

‘The Annihilation of Fish’ Review: A Gem That’s Worth the Wait

The director Charles Burnett’s deeply humane, singular film from 1999, starring James Earl Jones, is finally receiving a theatrical release.

‘Becoming Led Zeppelin’ Review: The Master Blasters

A new documentary looks back at the band’s early years, featuring interviews with Robert Plant, Jimmy Page and John Paul Jones in retrospective mode.

‘The Fishing Place’ Review: A Village Under Suspicion

Rob Tregenza’s latest film, set in a German-occupied Norwegian village, follows a housekeeper dispatched to spy on a priest.

‘Liza: A Truly Terrific Absolutely True Story’ Review: Her Life as a Cabaret

The fizzy, determinedly upbeat documentary charts how Liza Minnelli survived Hollywood. It’s inspiring, jaw-dropping and conspicuously incomplete.

‘Presence’ Review: Paranormal Friend or Foe?

Steven Soderbergh’s new chiller takes place in one of the most troubled of all movie locations: an outwardly normal family home.

David Lynch Showed Us Who We Are in Dark Masterpieces Like ‘Eraserhead’

The director himself came off as almost performatively normal. Masterpieces like “Eraserhead” and “Mulholland Drive” said otherwise.

‘The Last Showgirl’ Review: Pamela Anderson Is Dazzling

The actress stars as a dancer at a Las Vegas revue on its last fishnet leg in Gia Coppola’s sensitive and beguiling film.