By Lawrence Garcia | September 25, 2023
Festival Dispatch

So often in writing on experimental cinema (to say nothing of art in general) one is confronted with polarities of intuition and concept, emotion and intellect, feeling and form. Williams’s film demonstrates that while such distinctions may be legitimate, they need not be reified into strict dualisms.

Part 2 of a special conversation on games and art featuring Destiny 2, Final Fantasy, Hitman, Tower of Druaga, Pathologic 2, and more.

Incisive analysis in games criticism is still hard to find. In part one of this special conversation for Touching the Screen, five critics discuss potential angles from which to approach video games as art.

If Breath of the Wild found new possibilities for player choice in exploration, Tears of the Kingdom offers enticing glimpses of what is to come as game designers rise to meet the challenge of endlessly creative audiences.

By Greg Cwik | June 6, 2023
At the Museum

Fox remains underappreciated, even though his name is universally known. Fox is perhaps the sitcom performer who most successfully translated his innocent ebullience and endearing kineticism from television to film.

Museum of the Moving Image film curators Eric Hynes and Edo Choi continue their chat about Cannes 2023, including comments on Killers of the Flower Moon, May December, Anatomy of a Fall, The Pot au Feu, and more.

For the second year in a row, MoMI’s film curators visited the Cannes Film Festival together. Hynes and Choi pass notes in the hall between screenings, discussing the culture of and around the festival, and, yes, the occasional film.

By Jasmine Liu | April 18, 2023
At the Museum

Paying attention to minor characters constitutes not just an act of care for them but a whole difference in epistemology. This insight is core to Jill, Uncredited, a 17-minute short directed by Anthony Ing that splices together scenes of 78 films featuring background actor Jill Goldston from her half-century-long career.

By Frank Falisi | April 8, 2023
At the Museum

Does folklore come to us or react to what we give it? Mami Wata, C.J. “Fiery” Obasi’s third feature and the first by a Nigerian filmmaker to premiere at Sundance, is principally concerned with the meaning and scope of the stories we pass to each other.

By Emma Ward | April 3, 2023
At the Museum

The River Is Not a Border retraces the events of 1989 with an attentive but unobtrusive hand. Diago casts his participants not just as subjects but as storytellers, resulting in a film guided more by memory and feeling than historical fact or cinematic flair.

By Clara Cuccaro | March 31, 2023
At the Museum

When Julia is alone and physically grounded on the Earth rather than speeding down the highway, Quivoron examines her queer performance. Rodeo is at its most mesmerizing when Julia’s hair isn’t whipping in the wind.

By David Schwartz | March 31, 2023
At the Museum

Jeanne Dielman asserts the importance of its subject while also asking us to reconsider what we look for in—and how we look at—a movie. We inhabit what feels like a simulation of real time, confined except for the occasional errand, to the interior of 23 quai du Commerce.

The focus on the packaging and commodification of these plants and vegetables demystifies the agrestal fantasy of so many of our products. At first numbing, Ortín’s images of rote mechanical production begin accruing a subtlesense of dread, appearing as an unbroken and uncaring process.

By Julia Gunnison | March 26, 2023
At the Museum

Melnyk had set out to make a strictly observational documentary. On the ground in Stuzhytsia, he found it impossible to maintain the distance this approach required.