January 16, 2017
Years in Review

Best ESPN Miniseries, Best Ending, Best Hitchcockian Cameo, Foulest Trailer, Biggest Missed Opportunity, We Don’t Need Another Superhero, Best Musical, Most Underrated Overrated Double Oscar Winner, Scariest Movie, Worst Film Criticism, and more

By Emma Piper-Burket | January 14, 2017
At the Museum

Three documentary shorts in First Look 2017’s Strange but True: Shorts Program II work in tandem to paint a portrait of a particularly American brand of hope; it is tender, a little tragic, and it does not come in HD.

By Jordan Cronk | January 13, 2017
At the Museum

“The words written in the script are really just for my reference. I never show the actors the screenplay. I find I always get better results with the dialogue if we do some improvisation and run through the scene a few times.”

By Nick Pinkerton | January 13, 2017
At the Museum

The unusual, unsparing, and sometimes leering candor of Helmut Berger, Actor is made possible by the fact that the film’s subject seems to be totally absent any self-censoring mechanism. His substance intake may have some part in this.

By Michael Sicinski | January 12, 2017
At the Museum

The screen, apart from some video scan lines and the usually-but-not-always present image of a refugee boat carrying 13 men, is little more than a blue rectangle, the Mediterranean Sea on a particularly sunny day.

By Ela Bittencourt | January 12, 2017
At the Museum

This new program of international avant-garde film and video, she curated for the Museum of the Moving Image, celebrates older works (most of them forgotten) while placing a strong emphasis on the new.

By Jackson Arn | January 10, 2017
At the Museum

The most intriguing draw is a 38-minute Eternalist collage of footage taken by New Yorkers on the day of the World Trade Center attack.

January 9, 2017
Years in Review

Deadpool, Jackie, Hell or High Water, The Birth of a Nation, Lo and Behold, The Neon Demon, Krisha, Bad Moms, Nocturnal Animals, Midnight Special, Joshy

By Ohad Landesman | January 8, 2017
At the Museum

Transporting the viewer into a country setting where a unique way of life is gradually disappearing, Boone comes with no expository voiceover, respects no dramaturgy, and excludes any interaction between filmmaker and subjects.

By Michael Koresky | January 7, 2017
At the Museum

Films as disparate as Altered States, Nosferatu, 1984, The Night of the Hunter, Repulsion, Tetsuo the Iron Man, M, and Sette note in nero are placed on the same emotional plane, each an evocation of all-purpose, free-floating, indefinable anxiety.

By Max Carpenter | January 6, 2017
At the Museum

Structurally, Territorio is indebted to James Benning, whose geographical features are made up of meticulous static long takes assembled around central themes. But while Benning is the master of depopulated Western landscape shots, Cuesta serves up people and faces in lieu of places.

By Daniel Witkin | January 6, 2017
At the Museum

The setup of the film works less as narrative than as an inception point for numerous complementary and competing layers of fiction and reality, including the test footage for the film-within-a-film, scenes relating to its production, and footage of life in Tokyo.

By Kelley Dong | January 5, 2017
At the Museum

Kore-eda has explained that his latest film, After the Storm, is an unofficial sequel to his 2008 drama Still Walking. Both films contemplate the fresh wounds left by a deceased family member on the living; the former takes place over the course of a single day, the new film over several weeks.

January 2, 2017
Years in Review

No Home Movie, Toni Erdmann, Cemetery of Splendor, Cameraperson, Aquarius, Moonlight, Right Now Wrong Then/Sunset Song (tie), Silence, Certain Women/Knight of Cups (tie), The Illinois Parables