The New Yorker Festival - Backstage: Marina Abramović at Home

A Woman’s Forced Marriage in Post-Invasion Afghanistan, in “Hills and Mountains”

Richard Brody’s Best Movies of 2024 So Far

A Mother’s Perilous Journey from Venezuela to Brazil

Family Bonds Protect a Trans Teen In Texas

The Black Mothers Fighting to Get Their Kids Back, in “To Be Invisible”

Richard Linklater Unmasks Glen Powell In "Hit Man"

Connecting with Trans History, Rebellion, and Joy, in “Compton’s 22”

Laughing in the Face of Dying Young, in “Cherry”

Flirtation and Confrontation in “Sparring Partner”

Julio Torres on the Rocky Relationship That Drives "Problemista"

Crashes and Community in “Demolition”

Flipping the Script on Trans Medical Encounters

Textures: For Black Women, Embracing Natural Hair Is About More than Style

A Teen-Ager’s Quest to Manage His O.C.D. in “Lost in My Mind”

Richard Brody on the Movies That Should’ve Been Nominated for Best Picture in 2024

TikTok and War Intersect in “Following Valeria”

Cousins: An Awkward Reunion

Roger J. Carter: Rebel Revolutionary

Proof of Concept: Richard Kind on Making a Short Film about Making a Short Film

Friday Night Blind: Bowling Without Sight

How Ava DuVernay Restages History in “Origin”

The Barber of Little Rock: One Man’s Fight to Close the Racial Wealth Gap

Amanda Petrusich’s Best Albums of 2023

Richard Brody’s Best Movies of 2023

Echo: A Pioneer of Echolocation for the Blind