By Nicolas Rapold | February 24, 2022

Top of the Heap, from 1972, centers on a black D.C. cop who’s frustrated with his job, but this is no run-of-the-mill seventies crime film. First-time director and star Christopher St. John creates a fascinating, volatile blend of police melodrama, Afrofuturism, counterculture satire, and sheer cri de coeur.

By Chris Shields | February 9, 2022

Chandler’s film achieves a chilling elegance. Bulletproof forgoes the overly scripted, interview-heavy approach of many contemporary documentaries, and instead presents a stream of unhurried tableaux, crafting a nuanced and complex vision of the nexus where guns and schools meet.

By Jordan Cronk | November 24, 2021

When you adapt a book into a movie it is more about transcribing the emotions you felt when you first read the text.

By Erik Luers | November 12, 2021

His films actively engage with their subjects while questioning the notion of authentic representation...these films interrogate the subjective act of viewing.

By Erik Luers | August 18, 2021

Cryptozoo is set at a moment in time when the U.S. military was getting increasingly involved in the ongoing Vietnam War. Forget Agent Orange; what if cryptids were used as involuntary weaponry?

By Nicolas Rapold | August 4, 2021

"You participate in the narration of the film with the light, with the ambience, with the climat of the image. So, the image is not only a technical performance, it is part of the storytelling, it participates in the narration. And that is the deepest definition, I think, for cinematography."

By Chloe Lizotte | August 1, 2021
At the Museum

"As humans, we always want the fireworks. We want the show. But actually a volcano is always erupting. And, as is also true about cinema, the more you learn about the language of a director, the more you can appreciate the idiosyncrasies or the details."

By Katherine Connell | July 30, 2021

Through Szumowska and Englert’s grounded observations of everyday people and communities runs a current of intensity that erupts in moments where the regular brushes up against the otherworldly.

By Susannah Gruder | July 25, 2021
At the Museum

An older woman walks along Steinway Street in Astoria with a strong sense of purpose. She is shot by an unknown cameraperson who wields his lens like a sniper, tracking her as she moves. The woman periodically stops men on the sidewalk, earnestly asking benign questions that quickly becoming intensely personal.

By Nicolas Rapold | April 16, 2021

One of the key questions of filmmaking is the distance between camera and subject, or character. Do you remember any Rembrandt pictures? The question is not about composition and lighting. Why Rembrandt is crucial for art is because he’s choosing the right scale.

By Chris Shields | March 25, 2021

For someone like me, there was not an opportunity to dream or to imagine being an artist. I came from a background where my father said I did not need to imagine art, I did not need to learn painting or music, I just needed to find a job.

By Erik Luers | March 12, 2021

Being a professor has provided me with access to how younger people think. I am in my early forties now and my students remind me of the activism I was participating in in my twenties. As I was writing the film, I was thinking about some of my students and things I had heard them say at some point on campus. It is a world that many filmmakers who do not teach do not have access to.

By Caitlin Quinlan | February 12, 2021

Being Scandinavian and all, you kind of have this steady diet of Bergman and Tarkovsky, and so seeing the world through this microcosm of two couples and breaking up those archetypes has always been interesting to me.

By Chris Shields | January 12, 2021
At the Museum

I bought a 16mm Bolex windup camera in 1987. And that is the camera I use. Wow. Can you think of all the cameras and cell phones and computers and laptops that each one of us has had in those intervening years? And I love that. I don't have to worry about batteries.