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Richard Linklater’s Uncompromising Artists
Zoey Deutch, who plays Seberg in “Nouvelle Vague,” said that Linklater had first approached her about the project in 2014, while she was…
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Where the Battle Over Free Speech Is Leading Us
When we think of the history of free-speech rights, we tend to think of the Anglo-American legal tradition. A virtue of Dabhoiwala’s book…
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Richard Brody’s New York Film Festival Picks
Sometimes names are misleading. Arabic numerals originated in India, Chinese checkers are German, white chocolate isn’t chocolate at all.…
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What to See in the 2025 New York Film Festival’s First Week
The New York Film Festival, the centerpiece of the city’s year in cinephilia, is a victim of its own success. Many of its most noteworthy…
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Donald Doubles Down
© 2025 Condé Nast. All rights reserved. The New Yorker may earn a portion of sales from products that are purchased through our site as…
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An Intimate Chronicle of Kanye West’s Fall from Grace
One simple way to think of Kanye West is as a genius stuck in the body of a child who’s always on the verge of a tantrum. He takes out his…
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The Mother as Antihero
Sasha Bonét’s matrilineal memoir, “The Waterbearers,” traces the lives of her mother and grandmother: powerful, complicated women whose…
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The A.I. Bubble Is Coming for Your Browser
There’s an old business maxim dating to the California gold rush: it’s easier to make money selling picks and shovels to aspiring miners…
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The Art of the Impersonal Essay, by Zadie Smith
If it were up to me, for example, I would very happily switch that rickety, always ill-fitting term “humanism” with something broader,…
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Ian McEwan Casts the Climate Crisis as a Story of Adultery
At the start of “What We Can Know,” Ian McEwan’s eighteenth novel, the year is 2119 and the humanities are still in crisis. Thomas…
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Reading the New Pynchon Novel in a Pynchonesque America
As for pace, “Shadow Ticket” reads like one of its subplots, about the Trans-Trianon 2000, a two-thousand-kilometre motorcycle circuit…
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Picturing a Chinatown Family Across Twenty-Two Years
Once the family settled into their new normal, Holton resumed his photography. The tones of these prints are darker: shadows replace the…
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What It’s Like to Get Really, Really High
Ojos del Salado rises more than twenty-two thousand feet above sea level, on Chile’s northeastern border. It is the world’s tallest…
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The Metropolitan Opera Delves Into Comic Books
1. The beloved British polymath and broadcasting legend Melvyn Bragg, who joined the BBC in 1961, recently stepped down from his show “In…
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Robert Redford and the Perils of Perfection
Gentleman, preferred, blond: such was the job description of Robert Redford, who died on Tuesday, at the age of eighty-nine. Onscreen, he…
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“A Big Bold Beautiful Journey” Is None of Those Things
If movies were given scores as figure skaters are, fantasy would start with a high rating for technical difficulty. The landings of the…
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Yasmina Reza’s “Art” Feeds Our Appetite for Argument as Entertainment
Is there anything left of the old concept of debate? The practice of good-faith argument feels harder and harder to find, even as…
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Charlie Kirk and Tyler Robinson Came from the Same Warped Online Worlds
Assassins and would-be assassins have become a sickeningly common feature of our polarized political landscape, and so have our rituals in…
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Can You Really Live One Day at a Time?
This summer, I reread the novel “Aurora,” by Kim Stanley Robinson, a science-fiction writer whom I profiled a few years ago. Robinson has…
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How Jane Birkin Handled the Problem of Beauty
In Agnès Varda’s film “Jane B. par Agnès V.,” from 1988, a nearly forty-year-old Jane Birkin, dressed in jeans, a white T-shirt, and a…
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Maira Kalman’s “Stéphane Mallarmé with Shawl”
The artist Maira Kalman has always had an idiosyncratic approach to defining elegance, having co-authored a book titled “(un)Fashion,” and…
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What I Wanted, What I Got
The popular girl at my elementary school—let’s call her Denise—was not blond like Barbie but pretty in a conventional manner I envied. She…
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“Megadoc” Shows Francis Ford Coppola Going for Broke on “Megalopolis”
Figgis comments that Coppola uses the script as a mere premise, and he likens Coppola’s approach to it as “instinctive,” calling the…
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Brittany Howard and Alabama Shakes Return with Audacious New Music
The first thing Julio Torres says in “Color Theories” is to deny that he’s made an “Off Broadway play.” (His ponytail, curling overhead…