Touching the Screen
The intrepid writers from our Touching the Screen video game column have joined forces for Reverse Shot’s first-ever year-end games roundup.
Our imaginations forge our borders as surely as our borders forge us. Virginia Woolf demanded a room of her own, but Charlotte Brontë's lady in the attic might've had something altogether different to say about that. For ultimately we are the ones who affix meaning to place.
Years in Review
Reverse Shot's annual awards and accolades, including Biggest Small Movie, Smallest Big Movie, Most Deflating Trend, Best Supporting Actress, Best Supporting Goulash, Best Reality Break, Best Scene-Stealer, Most Myopic Biopic, Best Comeback Comedy, and more!
Lyrical turnarounds like “Drive boy dive boy / Dirty numb angel boy / In the doorway boy / She was a lipstick boy”—in this surreal context, the sounds of human confusion are not so far away from how a glitching machine might speak. Homer’s version, a synthetic soliloquy.
Many of the best and most radical films came from major auteurs experimenting with new forms, whether that is Hong Sang-soo, Pedro Costa, or Wang Bing. Plus: Lois Patiño, James Benning, Deborah Stratman, Steve McQueen, Eduardo Williams, Joshua Gen Solondz, and more.
Roy Andersson's film captures the planning, action, and aftermath of a mass protest against a planned Davis Cup tennis match in Sweden against Rhodesia. It is a vivid record of 1960s political protest and of a wealthy European nation’s racism.
This is a game explicitly about narrative, adaptation, and the multifaceted nature of games as a medium. The game was produced by Remedy, a studio now blessed with not only the budget to fully realize their vision but also implicit permission to experiment from a gaming public weary of copy-paste open world games.
Unlike the moving-image installations presented as part of group exhibitions like documenta and the Venice Biennale, Villa Medici focuses squarely on the theatrical presentation of its selection—which, considering the Renaissance-era backdrop, makes for some surreal viewing environments.
Haynes is doing something extraordinarily delicate and difficult in May December, reminding viewers, with the lightest of touches, that we are all implicated and indulgent in the processes of social, cultural, and sexual exploitation that define the modern consciousness.
Buy this new anthology exclusively from Museum of the Moving Image's online shop or in the Museum's store on-site.