By Nick Pinkerton | February 1, 2018

A series full of mistaken identities and roving impostors, Twin Peaks: The Return is a heads-up to look for cinema in places other than where it’s alleged to be found.

By Nick Pinkerton | January 31, 2018

One of the unexpected pleasures of this Twin Peaks was just how unexpected it was, how it didn’t seem interested in reheating an old dish in the name of “fan service.”

By Nick Pinkerton | January 30, 2018

Much of what is dearest in cinema can be credited to brash buccaneers and independent operators working at the periphery, though few are the film artists, like Lynch, who can maintain freedom of the margins.

By Nick Pinkerton | January 29, 2018

One of the jobs of the artist is to find the space that is most conducive to the practice of their art at the given moment; one of the jobs of a functioning cultural commentariat is to follow artists to those spaces.

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

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.

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.

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).

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.

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

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.

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.

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.

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.