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.

By Jeff Reichert | March 18, 2022
At the Museum

Over the course of four hours, Loznitsa constructs a granular record of Lithuania’s moves towards independence.

By Mark Asch | March 17, 2022
At the Museum

The film, starring Adele Exarchopoulos as a hard-living, pain-numbing flight attendant on a fictional low-cost carrier, is a welcome indictment of the leisure culture and spiritual malaise of the Common Market.

By Leonardo Goi | March 17, 2022
At the Museum

I wanted to show these atrocities to remind Europe, and the whole world, that these barbarities are not happening far away, in some distant past, but right here, right now.

By Lawrence Garcia | March 15, 2022
At the Museum

First Time displays a conceptual rigor, its clear segmentation and wordless progression creating a characteristic, riddle-like fusion of sensation and mental reflection.

By Kelli Weston | March 15, 2022
Festival Dispatch

The most intriguing films I saw were premised upon an often performative return to the near or distant past to resolve pesky questions of home or relationships, which is to say, inevitably, questions of identity and inheritance.

By Jeff Reichert | March 15, 2022
Festival Dispatch

A pleasing sense of ambient drift marked a number of the landscape-focused True/False features I saw, a welcome respite from the “story” and character-obsessed rigidity that hobbles the American commercial documentary industry.

By Edo Choi | March 9, 2022
Festival Dispatch

Even in this capacity-reduced iteration, one sensed the anticipation of what felt like largely local crowds returning to the program, perhaps for the first time since 2020, at each sold-out Forum screening.

By Farihah Zaman | February 7, 2022
Festival Dispatch

In the murky waters of documentary ethics, responsible filmmaking is not always a question of authorship, but of perspective. It is not just about who is behind the camera, but who is seen through its lens.

By Matthew Eng | February 3, 2022
Festival Dispatch

Bemoaning or simply acknowledging the metastasis of the “Sundance film” has an obvious tendency of obscuring the nonfiction and non-English narrative entries that premiere at the festival and aren’t likely to be sought out by viewers, especially virtual ones.