Chantal Akerman’s Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles is a three-and-a-half hour film in which nothing happens. That, in any case, will be the description offered by many who will view it for the first time in the coming months. Their curiosity will have been piqued by its triumph in the just-released results of Sight and Sound magazine’s critics poll to determine the greatest films of all time. Conducted just once per decade since 1952, it has only seen two other top-spot upsets in that time: when Citizen Kane displaced Bicycle Thieves in 1962, and when Vertigo displaced Citizen Kane half a century later.

The top ten on this year’s Sight and Sound critics poll is as follows:

1. Jeanne Dielman 23, quai du Commerce, 1080 Bruxelles (Chantal Akerman, 1975)
2. Vertigo (Alfred Hitchcock, 1958)
3. Citizen Kane (Orson Welles, 1941)
4. Tokyo Story (Yasujirō Ozu, 1953)
5. In the Mood for Love (Wong Kar Wai, 2000)
6. 2001: A Space Odyssey (Stanley Kubrick, 1968)
7. Beau travail (Claire Denis, 1998)
8. Mulholland Dr. (David Lynch, 2001)
9. Man with a Movie Camera (Dziga Vertov, 1929)
10. Singin’ in the Rain (Gene […]

It’s bittersweet whenever a pioneering, long overlooked female scientist is finally given the recognition she deserves, especially so when the scientist in question is a person of color.

Chemist Alice Ball’s youth and drive – just 23 in 1915, when she discovered a gentle, but effective method for treating leprosy – make her an excellent role model for students with an interest in STEM.

But in a move that’s only shocking for its familiarity, an opportunistic male colleague, Arthur Dean, finagled a way to claim credit for her work.

We’ve all heard the tales of female scientists who were integral team players on important projects, who ultimately saw their role vastly downplayed upon publication or their names left off of a prestigious award.

But Dean’s claim that he was the one who had discovered an injectable water-soluble method for treating leprosy with oil from the seeds of the chaulmoogra fruit is all the more galling, given that he did so after Alice Ball’s tragically early death at the age of […]

“Chevrolet,” a new track on Neil Young’s 42nd studio album World Record, takes you on a long, rambling road trip, covering a lot of different terrain over 15 minutes, with some verses lasting more than two minutes. Above, you can watch Neil Young and Crazy Horse (Nils Lofgren, Billy Talbot and Ralph Molina) play the song for the very first time.  It’s also the same cut that appears on the album. It’s a pretty remarkable display of musicianship, and a great new Neil Young track.

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There are many reasons to look down on art forgery, from its illegality to its lack of originality. But much like any other human endeavor, you need a great deal of skill and stamina to do it well. Certain individual forgers have lived on in history: Han Van Meegeren, say, who tricked the Nazis with his Vermeers, or Elmyr de Hory, whose skills at imitating the styles of Picasso, Matisse, Modigliani, and Renoir landed him in Orson Welles’ F for Fake. If Zhao Xiaoyong doesn’t yet figure among the names of the best-known art forgers, it’s not because nobody’s made a movie about him.

That movie is Yu Haibo and Kiki Tianqi Yu’s documentary China’s Van Goghs, which you can watch just above. Much of it takes place in the village of Dafen in China’s Guangdong province, home to thousands and thousands of oil painters, all of whom make their living making replicas (in various sizes) of famous paintings by the likes of Leonardo, Rembrandt, Dalí, Basquiat, and — above all, it seems — Van Gogh. It speaks to the […]

Perhaps you’ve seen Scottish actor Brian Cox perform with the Royal Shakespeare Company in critically-acclaimed performances of The Taming of The Shrew and Titus Andronicus. Or, more likely, you’ve seen him in the blockbuster HBO series, Succession. But there’s perhaps another role you haven’t seen him in: tutor of toddlers. A number of years back, Cox taught Theo, then only 30 months old, the famous soliloquy from Hamlet, hoping to show there’s a Shakespearean actor in all of us. Later, Cox talked to the BBC about his “masterclass” with Theo and what he took away from the experience. Watch him muse right below:

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