Thank You
August 26, 2020

Thanks to all of our audience who have enjoyed and supported "What She Said: The Art of Pauline Kael."  After a great theatrical and virtual run in North America that began in December, we're now available on most digital platforms, including Amazon and iTunes, for purchase or rent.  

The film is now also available on DVD and Blue-ray through Amazon. Buy on Amazon

We look forward to sharing more good news about the film in the days to come.

Juno Films is thrilled to announce the launch of JUNO FILMS @ HOME to all of our theatrical partners. We know that many in our art house community are struggling during these challenging times to keep their doors open and provide critically acclaimed content to your patrons. We are offering WHAT SHE SAID: THE ART OF PAULINE KAEL via our theatrical partners to watch @ Home.  

Available on i-Tunes

Watch on Amazon

Opens February 14th in the Bay Area
February 12, 2020

Pauline Kael

Shattuck Cinemas
HELD OVER until February 27
Buy tickets

San Francisco / Opera Plaza Cinema
HELD OVER until February 27
Buy tickets

HELD OVER until February 26
Buy Tickets


Documentary on mid-century film critic Pauline Kael, “What She Said: The Art Of Pauline Kael,” accompanied by seven of her favorites, including five on 35mm: Robert Altman’s essential “McCabe & Mrs. Miller,” Renoir’s “The River,” “Bonnie and Clyde,” Scorsese’s “Mean Streets,” De Palma’s “Casualties of War,” as well as Bertolucci’s “Last Tango in Paris,” one of the diminutive doyenne’s great flames (or flame-outs), and Godard’s “Band of Outsiders.”
-- New City Film

Buy tickets here


Opens Christmas at Film Forum
December 25, 2019

What She Said

Happy Holidays Movie Lovers! What She Said: The Art of Pauline Kael opens Christmas at Film Forum in New York.

What She Said

What She Said: The Art of Pauline Kael Opens December 13th at The Nuart in Los Angeles. Buy tickets here.

What She Said: The Art of Pauline Kael
August 06, 2019

Directed by Rob Garver

“The most powerful, loved, and hated film critic of her time.” – Roger Ebert on Pauline Kael (1919-2001). In a field that has historically embraced few women film critics, Kael was charismatic, controversial, witty, and discerning. Her decades-long berth at The New Yorker energized her fans (“Paulettes”) and infuriated her detractors on a weekly basis. Her turbo-charged prose famously championed the New Hollywood Cinema of the late 1960s and ‘70s (BONNIE AND CLYDE, NASHVILLE, CARRIE, TAXI DRIVER) and the work of major European directors (François Truffaut, Bernardo Bertolucci), while mercilessly panning some of the biggest studio hits (THE SOUND OF MUSIC, MIDNIGHT COWBOY, DIRTY HARRY). Her creepy battle with Andrew Sarris and his auteur theory was legendary, and her stint in Hollywood, trying her hand at producing, was a disaster. Sarah Jessica Parker reads from Kael’s reviews; filmmakers Quentin Tarantino, Paul Schrader, and Francis Ford Coppola and critics Camille Paglia, Molly Haskell, Greil Marcus, and David Edelstein speak to her enormous gifts and influence.