Goings-on at Museum of the Moving Image

By Jeff Reichert | November 2, 2018

Once There Was Brasilia is a sci-fi epic about assassins from space and the impeachment of Brazilian President Dilma Rousseff, achieved on a shoestring budget.

By Nick Pinkerton | October 19, 2018

In this mephitic atmosphere, an assertion of the sanctity of simple domestic pleasures (of pleasure itself) is tantamount to an act of artistic resistance.

By Michael Koresky | September 25, 2018

The past is always present, but that does not just mean that it haunts or permeates our contemporary world: the past reconstitutes and recombines our very processes, internal and external, our molecules, our narratives.

By Jordan Cronk | September 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 Giovanni Vimercati | June 26, 2018

Is Putin the cause or the result of Russia’s systemic ills? A tentative answer might be found in the Russian cinema of the 21st century, which, as it happens, coincides with the beginning and ongoing rule of this postmodern tsar.

By Adam Nayman | June 22, 2018

The super-fan has progressed to secretary, then understudy, then professional and romantic usurper. Six years before Invasion of the Body Snatchers, All About Eve tapped a rich vein of existential panic tied to the theme of replication and replaceability.

By Ela Bittencourt | May 4, 2018

What of art then? Is its thrill ever about aesthetics alone? This question is just one of many raised by Barbara Visser’s smart, approachable, and entertaining documentary The End of Fear.

By Josh Cabrita | April 12, 2018

Gibson shows that filmmaking is an extension of a practice that is already proactive and lived. The evolving relationship between filmmaker and subject is retained implicitly in nearly every shot and interaction.

By Caroline Cao | March 30, 2018

The Breadwinner is a simple story about a young girl who loves her father, but there are layers that acknowledge the complexities of the political situation in Afghanistan, children growing up in conflict, and the fact there are no easy answers.

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.