By Shonni Enelow | May 24, 2024

What a pleasure to watch a movie without a guilty conscience. What a relief to get to enjoy what everyone knows: movies create us, in our own fantasies and other peoples’, in our behaviors and expectations, in our public selves and erotic drives.

By Dan Schindel | May 24, 2024

It is remarkable how many common prequel issues Miller and co-writer Nick Lathouris are content to sidestep entirely. Furiosa has almost no meta-shibboleth winks to fans or superfluous cameos.


For the third year, Museum of the Moving Image film curators have visited the Cannes Film Festival and have engaged in a dialogue about the films on offer.


If consumers are paying the big bucks for a game (especially one they have technically already played), what are they actually getting? Padding is, unfortunately, almost always the answer, but Rebirth takes it one step further by padding an arguably padded extension of a fragment of an existing game.

By Lawrence Garcia | May 17, 2024

In placing us so fully within the complexities of the COVID-era present, Coma reveals our very inability to unify it in thought.

By Jeff Reichert | May 17, 2024

In Our Day sets two unconnected, rhyming narratives against each other for scrutiny—like looking at two paint samples from the same spectrum side by side and parsing the differences.

By Conor Williams | May 10, 2024

Creton builds his characters up from the outside; they lack a real sense of interiority. Where A Prince thrives is in its lush cinematography, inviting the audience into cozy, well-worn interiors and verdant, rich landscapes.

review, feature
By Mark Asch | May 10, 2024
First Look 2024

The film is another of brothers Bill and Turner Ross’s immersions in the regional euphoric...The filmmakers are after a kind of Herzogian ecstatic truth, often to be found in the kinds of spaces where someone is likely to be rolling on literal ecstasy.

By Nicolas Rapold | May 10, 2024

In this new interview, the legendary cinematographer sits down to revisit his career by looking at unforgettable images from his films, specifically those by David Lynch and John Cassavetes, and recalling how he helped to create them.

By Nicholas Russell | May 9, 2024

The film is a digressive, musically driven bildungsroman told through a series of vignettes that glimpse slivers of contemporary West Indian British life. Ové shoots London as alternately drab and vibrant.

By Juan Barquin | May 9, 2024

The whole movie sort of feels like a meditation on our memories of suburbia, our memories of TV shows about suburbia, and the way that lives on in a dream space. It’s more fun that way for me.

By Max Carpenter | May 7, 2024
Screen Play

The strange metaphysical mingling of ersatz furniture and moments of raw human authenticity on game showsfeels like a rupture. These programs are traversable on-ramps for real people to appear as real people in the big leagues of television.

By Imogen Sara Smith | May 3, 2024

What starts out as an environmental parable, pitting respectful efforts to live in balance with nature against shortsighted corporate greed, turns into something far stranger and more disquieting.


These are films about transients and transience, punctuated by soft dissolves and ellipses; sometimes people fade out of the frame like smoke, or vanish and reappear further away. Shimizu’s formalism and his humanism go hand in hand.

By Chris Wisniewski | April 30, 2024

By revisiting The Sopranos as one of the definitive moving image works of this century, I may be trying to say that my journey as a cinephile over these past 20 years has involved a growing acceptance that cinephilia itself has become a destabilized and unsustainable category, an antique of the 20th century.