By Daniel Witkin | December 1, 2022
Screen Play

The soccer highlight video has proliferated. Whether 90 seconds or 10-plus minutes, these little portraits of players are essential for fans who try to keep up with the game in all its inexhaustible intricacies . . . They also have an aesthetic of their own, with their own characteristic music, montage, and mise-en-scène.

By Z. W. Lewis | November 14, 2022
At the Museum

Tsuchimoto made more than a dozen more films about Minamata, which reflects a level of personal dedication unrivaled by most other documentarians. He also made films about student revolts, the plight of the average fisherman, Siberia, and Afghanistan.

We’re All Going to the World’s Fair, The Funhouse, Ginger Snaps, Frenzy, Maniac, Baby Blood, Possum

By Greg Cwik | October 20, 2022
At the Museum

Translating Poe to a visual medium is an inherently tricky endeavor: though the plots of his stories lend themselves to film, with their exquisite imagery of the eerie and evil, the everlasting poignancy of his work is his deftly diabolical use of language to conjure moods of ominous ineffability.

October 1, 2022
A Few Great Pumpkins

Every Halloween, Reverse Shot presents a week’s worth of perfect holiday recommendations. Here is a complete list of every film covered in our A Few Great Pumpkins essay series, 2006–2021.

By Sarah Fensom | September 23, 2022
At the Museum

That tension that Caan carries merely by being on-screen might be best exemplified in The Gambler, the 1974 film directed by Karel Reisz from a James Toback script. It follows Caan as Axel Freed, a clever Harvard-educated literature professor and gambling addict from a well-to-do New York Jewish family.

By Dan Schindel | September 23, 2022
Touching the Screen

The titles forming this recent trend have diegetic time loops, ones built into their narratives and acknowledged by the characters, with the temporally unmoored antics explained by malfunctioning time machines, meddling gods, or simple mental illness.

By Greg Cwik | September 21, 2022

Formally, Pearl is his most elegant film, with careful, considered, yet modest compositions and smooth camera movements. West and regular DP Eliot Rockett use the whole wide frame, placing Pearl in the periphery of many shots with the farm consuming the rest, the countryside like a romantic painting spread over the background.

I actively learned from what I saw at the Costa Rican International Film Festival: words, sensations, geographies, lost histories. And I learned even more from the artistic director, Fernando Chaves Espinach, a curator with a strong sense of where the fest has been and where it is headed.

By Eric Hynes | August 11, 2022
Make It Real

Welcome to the 20th annual declaration of the Golden Age of Documentary Filmmaking. Or is it the 25th annual? The moniker has been invoked intermittently for roughly this last fifth of the history of film exhibition.

Discussing the work of David Cronenberg and the trans metaphors and tactility of his latest film, Crimes of the Future.

By Chris Shields | June 25, 2022
At the Museum

An appreciation of George A. Romero's beloved, decades-spanning horror epic, in conjunction with MoMI's screening series Films of the Dead: Romero & Co., June 25–July 30.

Elden Ring is not just a single-player game but a sandbox, a hobby, a lifestyle. It sold 12 million copies in a single month. It is, bar-none, the event game of the year.

By Juan Barquin | June 8, 2022
Festival Dispatch

Death and distance play a key role in many films nominated for the Queer Palm this year at Cannes, and many of them forgo a meaningful exploration of their characters’ desires.