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| January 16, 2018
Years in Review

Best Supporting Actress, Best Monologue, Worst Supporting Gay, Most Tonally Strange, Best Age-Inappropriate Romance, Paul Giamatti Award for Overacting, Best Bookends, and much more

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By Jackson Arn | January 13, 2018
At the Museum

At the heart of Benning’s practice is an unmistakably avant-garde thesis: ordinary ways of experiencing reality need to be transcended with the help of cinema.

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By Ela Bittencourt | January 11, 2018
At the Museum

It’s an expansive visual travel journal—Chidgasornpongse rode all of Thailand’s train lines over the course of six years—though on screen it seems as though it’s all happening in a single day (represented in 102 minutes of footage).

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By Daniel Witkin | January 13, 2018
At the Museum

Cobbled together from home movies that the Brazilian director amassed throughout four decades living in Paris, the film constructs an autobiography of sorts from what its author happened to film over the years.

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By Emma Piper-Burket | January 12, 2018

Avoiding the sweeping grandiosity and visual tidiness of so many period pieces, Thomas brings a deeply tactile approach to her first solo feature, which is set in the mountains of 19th-century Brazil.

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By Kelley Dong | January 11, 2018
At the Museum

Through its oversaturated, auto-exposed, and coarsely textured images, Let the Summer Never Come Again makes visible the mechanisms of its fiction.

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| January 8, 2018
Years in Review

The Shape of Water; Three Billboards Outside Ebbing, Missouri; The Disaster Artist; The Killing of a Sacred Deer; Rat Film; Wonder Woman; Victoria & Abdul; Beauty and the Beast; City of Ghosts; Baby Driver; Wind River; I Love You, Daddy

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By Rooney Elmi | January 7, 2018
At the Museum

Syrian filmmaker Ziad Kalthoum has created a study of men anguished by conflict without ever exploiting their predicament; this cinematic odyssey invokes the senses and proves that the moving image is a singularly apt medium for representing the cost of human displacement.

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By Julien Allen | January 7, 2018
At the Museum

In just 50 minutes, nooks and crannies of humanity are explored with a deftness and potency it would normally take a six-part TV series to uncover.

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By Chloe Lizotte | January 7, 2018
At the Museum

Spanning three visits to Chongqing over the course of one year, the film focuses on three of Shibati’s residents as they reckon with forced displacement and the dismantling of their homes and businesses.

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By Caroline Madden | January 6, 2018
At the Museum

Shot in Poland for 35 days over the course of a year, this debut feature unfolds in a measured and unvarnished style that reflects the anthropologist eye of director Anna Zamecka.

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By Eric Hynes | January 5, 2018

Tasked with the pivot film in a trilogy, Johnson chose the right time to reinvigorate the narrative with irreconcilable forces, doubts, and conflicts. Suspension is the best asset of a a middle chapter. And best in that it is truest.

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By Ela Bittencourt | January 5, 2018
At the Museum

Ghost Hunting, which won a special prize at the 2017 Berlinale for Palestinian filmmaker Raed Andoni, is a relatively cool and sober restaging of interrogations and tortures suffered by prisoners in the Israeli interrogation center Moskobiya.

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By Michael Sicinski | January 5, 2018
At the Museum

In Colo, three relatively ordinary people, a teenage girl and her two parents, are struggling to make ends meet. But by the end of the film, they are entirely new, having been shattered by trauma and reassembled into damaged, isolated individuals.

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By Jordan Cronk | January 4, 2018
At the Museum

Blake Williams has achieved a holistic union of his own that speaks at once to the transformative power of the moving image and the oceanic force of its full deployment.