Goings-on at Museum of the Moving Image

By Chloe Lizotte | August 1, 2021

"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 James Wham | July 31, 2021

Color is dulled entirely, and reality, visually and morally, appears black and white. When the world is reduced to such simple terms, all that's left is for you to hover your crosshair over that burning target and pull the trigger.

By Forrest Cardamenis | July 31, 2021

Unless the viewer is aware of the overall structure and has a stopwatch, no cut will be expected and each will appear devoid of motivation, at least according to the conventions that govern editing in Hollywood, art-house, and even many avant-garde films.

By Bedatri D. Choudhury | July 30, 2021

Through decades of a certain kind of documentary storytelling and news reporting, audiences are so used to seeing images of poverty and abjection that the even the smallest act of affection comes across as extraordinary and radical.

By Vikram Murthi | July 26, 2021

There are fantastical elements in the film, mainly the presence of ghosts who play music when Dora and, later, Mario are near death, but they never intersect with the central relationship of Mario and Marta.

By Caden Mark Gardner | July 25, 2021

People reliving or articulating past traumas on screen is fairly standard in social issue documentaries. What is most striking about Silent Voice is that it presents its main subject, Khavaj, and his personal story without inflicting more pain or describing it in detail, even if the shocks to his mind and body are still painfully tangible.

By Susannah Gruder | July 25, 2021

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 Ela Bittencourt | July 22, 2021

The film follows the creation of the Documentary Village, a festival and a post-production hub in the village of Lussas, in southern France.

By Chris Shields | January 12, 2021

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.

By Nick Pinkerton | October 22, 2020

The drive-in is inextricable from the history of censorship in big-budget American cinema, and is also inextricable from the history of the automobile in the U.S., which is in turn inextricable from the history of suburbanization.

By Nick Pinkerton | October 20, 2020

The drive-in would become, in the postwar period, a symbol of untethered, ever-expanding, pedal-to-the-medal America, both a communal living room for Baby Boom parents and a prowling ground for teenagers.

By Kathryn Cramer Brownell | September 29, 2020

Both parties are prepared for today’s advertising landscape because of the shifts in party organization and campaign strategy that began almost seventy years ago.

September 11, 2020

We’re trying out something new this week, and switching to Wednesdays. Same time: 5:00pm. Now you can use Reverse Shot to help you get over the midweek hump! Next week, we are pleased to welcome The Criterion Collection's Andrew Chan and Metrograph's Aliza Ma.

By Bedatri D. Choudhury | August 19, 2020

“Documentary, through its earliest forms, is a colonial concept. The white man appears and then because he is the master, he unveils the story the way he sees it. He literally becomes the seer,” says filmmaker Marjan Safinia.