Goings-on at Museum of the Moving Image

By Jordan Cronk | January 14, 2016

"The film is never going to be transferred to digital. It always has to be shown as film, and it was constructed as a palindrome, so it could be shown from either end, and you can’t really do that with digital."

By Michael Sicinski | January 13, 2016

This mournful film takes the utopian aspiration of Communist dreams seriously, without overlooking the dangerous faults at their core.

By Michael Pattison | January 12, 2016

"All the shots in my films are always the same, but they are different from one film to the other. In this film I did not want it to be too long. They are about fifteen seconds. It is the minimum. I cannot make this film with shots of less than fifteen seconds."

By Michael Sicinski | January 6, 2016

Often the idea of the avant-garde implies a somewhat detached, contemplative mode of viewing, and this aesthetic stance is kilometers away from Gagnon’s bailiwick. Of the North seems to invite rubbernecking more than any conventional audienceship.

By Leo Goldsmith | January 4, 2016

This elegiac essay-portrait is unexpectedly timely; it concerns Portuguese cinema and its uncanny position between life and death, past and future. Its subject is a legendary film scholar, programmer, and longtime head of Cinemateca Portuguesa.

By Monty Majeed | December 10, 2015

“I am not a political commentator. But as an artist, I feel that the authorities must allow dissent. There has to be a space for protest in society. There has to be freedom of expressing our disapproval of the state of things as well. This right cannot be taken away from the people.”

By Julien Allen | October 16, 2015

Pialat’s quest was to seek out something more artistically valuable and emotionally direct: a cinema of genuine immediacy and truth, a cinema from which fragments of real life could erupt from the screen, where moments could simply exist, freed from the yoke of their context or origins.

By Nick Pinkerton | August 7, 2015

The wide-gauge format reached its greatest popularity in the 1950s amid a boom of new innovations intended to reverse the fortunes of foundering Hollywood studios; for a time, they even appeared to have done the trick. But every great reign is followed by an epoch of decadence . . .

By Fernando F. Croce | July 4, 2015

A visual poet with a penchant for knockabout brawling, an idealist who gravitated to tales of melancholic loss, a notorious tyrant who cultivated long friendships, a nineteenth-century sensibility revered by many a hardcore modernist: John Ford, as they say, contained multitudes.

By Morad Moazami | June 9, 2015

Mad Men is about a young nation’s dubious promise and potential for continual reinvention, and the desire this instills in the individual to forget one’s history and past, and in its place, construct another life and identity afresh.

By Sean Flynn | May 27, 2015

The “Sensory Stories” exhibit at Museum of the Moving Image is a playground for visitors of all ages to have personal encounters with emerging media technologies, novel interfaces, and experimental narrative forms that haven’t yet stabilized as familiar conventions.

By Fernando F. Croce | April 17, 2015

Face originated as part of a program of cinematic projects commissioned by and filmed in the Louvre . . . virtually each shot is an autonomous set piece, not so much building blocks in a linear storyline as visual-aural objects whose splendor works to mitigate the pervasive mood of despair.

By Chris Wisniewski | April 16, 2015

To the extent that Weiner conceived Peggy as a proto second wave feminist, one can see The Best of Everything’s Caroline as the template from which she is fashioned.

By Michael Koresky | March 13, 2015

There’s a central, important contradiction to the show, which is our ad-exec main character feels enormously, existentially detached from the materiality of everyday life—the very things, concepts, and ideas he is meant to be hawking (except, perhaps, for Hershey bars).