newyorker.com / .newyorker-com-culture

A storybook ending.

A retrospective at Lincoln Center showcases the French filmmaker's masterworks of social conflict and inner struggle.

Emerald Fennell's new movie may be mediocre, but its popularity demonstrates the strength of a genre that Hollywood has all but abandoned.

The award-winning writer discusses some of her favorite story collections and why they've stuck with her.

The New Yorker's editors and critics choose this year's essential reads in fiction, poetry, and nonfiction.

A new book provides a twist on the wrongful-conviction genre, showing how deep the rot can be when sexual violence is involved.

Short sleepers, who make up less than one per cent of the population, spend significantly less time snoozing without any apparent health consequences.

Nick Land believes that digital superintelligence is going to kill us all. In San Francisco, his followers ask: What if, instead of trying to stop an A.I. takeover, you work to bring it on as fast as possible?

In nearly sixty years of nonfiction filmmaking, Wiseman passionately probed the nodal points of political and social power and connected them in a cinematic universe of his own.

An exhibition in New York celebrates the work Strausfeld made for a cinema in London over the course of more than thirty years--designs of graphic confidence that were clean, strong, and scornful of embellishment.