Willow Maclay and Caden Mark Gardner invite critics and RS contributors Sam Bodrojan and Mackenzie Lukenbill to discuss 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 the screening series Films of the Dead: Romero & Co., which plays June 25–July 30, 2022 at MoMI, and the Museum's exhibition Living with The Walking Dead.
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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.

By Matthew Eng | March 23, 2022
At the Museum

Feathers is a caustic rejoinder to a country still dragging its feet on gender parity, particularly when it comes to the issue of labor.

The film dissects the status of Bangladesh as a postcolonial nation that, like many other postcolonial nations, tries to establish itself as a free nation while holding onto symbols that tie it back to the period it wants to (impossibly) outgrow.

By Chris Shields | March 20, 2022
At the Museum

The Balcony Movie is about the contingency of human perspective and what that means for our lives and relationships, but it is also about what thoughtful works of art can create.

By Vikram Murthi | March 19, 2022
At the Museum

The premise/gimmick features Guido Hendrikx behind the camera as he approaches the doorsteps of strangers and stands there waiting for any kind of encounter.

By James Wham | March 19, 2022
At the Museum

These evidential images provide a midpoint between knowledge and history, and between a subjective and objective truth. This is the framework for Loznitsa’s archival cinema: a kind of foundation on which we can build a better understanding of the world.