By Giovanni Vimercati | December 15, 2017
Festival Dispatch

What I am interested in the most is creating a demand for a different kind of cinema. Then maybe the authorities will realize it is time to change the rules.

By Devika Girish | November 10, 2017
At the Museum

The proliferation of domestic film festivals and the support of the National Film Development Corporation of India have facilitated an increasing number of local, out-of-mainstream spaces for film production and viewership, enabling the rise of regional independent movements.

The Birds, Lake Mungo, Diabolique, Dead Ringers, Island of Lost Souls, The Texas Chainsaw Massacre, Martin

By Julien Allen | October 18, 2017
Escape from New York

To understand the origins of the Screenplay film festival, the annual highlight of the Shetland arts calendar that Hubbard continues to run with eyebrow-raising drive and stamina, it is useful to note that Shetland is historically (and understandably) an island of enthusiastic bookworms.

While the selection includes both fiction and nonfiction films, the slant toward documentaries is pronounced: this year, out of the 15 films presented in the international competition, the vast majority were documentaries or fiction/nonfiction hybrids.

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.