Goings-on at Museum of the Moving Image

By Jackson Arn | January 13, 2018

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

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

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

Through its oversaturated, auto-exposed, and coarsely textured images, Let the Summer Never Come Again makes visible the mechanisms of its fiction.

By Rooney Elmi | January 7, 2018

Syrian filmmaker Ziad Kalthoum has created a study of men anguished by conflict without ever exploiting their predicament.

By Julien Allen | January 7, 2018

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

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

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.

By Ela Bittencourt | January 5, 2018

Ghost Hunting, which won a special prize at the 2017 Berlinale for Palestinian filmmaker Raed Andoni, is a relatively cool and sober restaging of interrogations and tortures suffered by prisoners in the Israeli interrogation center Moskobiya.

By Michael Sicinski | January 5, 2018

In Colo, three relatively ordinary people, a teenage girl and her two parents, are struggling to make ends meet. But by the end of the film, they are entirely new, having been shattered by trauma and reassembled into damaged, isolated individuals.

By Jordan Cronk | January 4, 2018

Blake Williams has achieved a holistic union of his own that speaks at once to the transformative power of the moving image and the oceanic force of its full deployment.

By Devika Girish | November 10, 2017

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.

By Emma Piper-Burket | January 14, 2017

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

“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.”