By Sarah Fensom | September 23, 2022
At the Museum

That tension that Caan carries merely by being on-screen might be best exemplified in The Gambler, the 1974 film directed by Karel Reisz from a James Toback script. It follows Caan as Axel Freed, a clever Harvard-educated literature professor and gambling addict from a well-to-do New York Jewish family.

By Dan Schindel | September 23, 2022
Touching the Screen

The titles forming this recent trend have diegetic time loops, ones built into their narratives and acknowledged by the characters, with the temporally unmoored antics explained by malfunctioning time machines, meddling gods, or simple mental illness.

By Greg Cwik | September 21, 2022

Formally, Pearl is his most elegant film, with careful, considered, yet modest compositions and smooth camera movements. West and regular DP Eliot Rockett use the whole wide frame, placing Pearl in the periphery of many shots with the farm consuming the rest, the countryside like a romantic painting spread over the background.

I actively learned from what I saw at the Costa Rican International Film Festival: words, sensations, geographies, lost histories. And I learned even more from the artistic director, Fernando Chaves Espinach, a curator with a strong sense of where the fest has been and where it is headed.

By Eric Hynes | August 11, 2022
Make It Real

Welcome to the 20th annual declaration of the Golden Age of Documentary Filmmaking. Or is it the 25th annual? The moniker has been invoked intermittently for roughly this last fifth of the history of film exhibition.

Discussing the work of David Cronenberg and the trans metaphors and tactility of his latest film, Crimes of the Future.

By Chris Shields | June 25, 2022
At the Museum

An appreciation of George A. Romero's beloved, decades-spanning horror epic, in conjunction with MoMI's screening series Films of the Dead: Romero & Co., June 25–July 30.

Elden Ring is not just a single-player game but a sandbox, a hobby, a lifestyle. It sold 12 million copies in a single month. It is, bar-none, the event game of the year.

By Juan Barquin | June 8, 2022
Festival Dispatch

Death and distance play a key role in many films nominated for the Queer Palm this year at Cannes, and many of them forgo a meaningful exploration of their characters’ desires.

This was the first year that the film curators of MoMI visited the Cannes Film Festival together. Eric Hynes and Edo Choi compare notes on the scene, the culture of the festival, the slate, and what it might mean for MoMI.

By A.G. Sims | May 27, 2022
Screen Play

One unifying concept ties it all together, Faraut believes, and that is the idea of time and the ability of a good director and a good tennis player to sculpt within it. His ideas are deeply rooted in the theories of Serge Daney.

By Eric Hynes | April 8, 2022
At the Museum

I really wanted us to experience the way that history and our representation of truth is mediated through images, through popular culture, through the news, through horror films, and through archives of therapy sessions.

By Chloe Lizotte | March 29, 2022
Event Horizon

It has never been as easy to undercut the “truth” of filmed reality, but verifying truth in image-making was never so straightforward.

By Chloe Lizotte | March 25, 2022
At the Museum

The title of Vengeance Is Mine, All Others Pay Cash may be slick and playfully edgy, but in ironic passages, Edwin ruptures that tone.