By Phil Coldiron | March 18, 2023
At the Museum

Beavers is a uniquely formal lyricist, and his films typically consist of the rhythmic analysis of a narrow band of content, spiraling out from a core of significant people or objects to examine their immediate environment.

By Mark Asch | March 18, 2023
At the Museum

During the first days of the 2020 lockdown, when New Yorkers saw time opening out abyssally before them and for filmmakers any kind of large-scale production was impossible, Artemis Shaw found her old camcorder in her parents’ apartment.

By Conor Williams | March 18, 2023
At the Museum

Romvari and Xu are compassionate image-seekers, yet they also subtly interrogate the systems surrounding their subjects.

By Nicholas Russell | March 17, 2023
At the Museum

The documentary functions as a living archive, a collection of 20 films made between 1964 and 1982 reporting, commenting, and philosophizing on the Palestinian struggle.

By Sarah Fensom | March 17, 2023
At the Museum

Amidst this beautiful and mysterious backdrop, sequences occur at random without explanation and do not always add up to a broader narrative. But much of its strength lies in the fact that very little happens and even less seems to connote meaning in the way we’re used to in cinema.

By Caitlin Quinlan | March 16, 2023
At the Museum

In her loosely structured, sensorial documentary, Long maps this history out along the San Andreas Fault, which splinters the state from north to south, capturing the textures and colors of the mountainous valley on gorgeously grainy 16mm.

By Matthew Eng | March 15, 2023
At the Museum

Anaita Wali Zada, a first-time actor who fled Afghanistan in 2021 with her sister after working for several years as a TV presenter and journalist, is often the lone subject of these images. Her composed, stoic face entrances just as it conceals a dull ache for something Donya struggles to name.

By Nicholas Russell | March 15, 2023
At the Museum

Nominally, A Common Sequence is a documentary, though, threading together meditations on colonialism, environmental degradation, capitalism, labor and immigration, machine learning and AI, DNA harvesting and genomic manipulation, the film adopts a nonlinear, almost impressionistic approach.

By Chloe Lizotte | March 15, 2023
At the Museum

Abrahams frequently shifts aesthetic registers, from stylized vignettes to handheld observation, introspective narration to candid conversation, the heightened past to the quotidian present. Abrahams has explained that she wanted to evoke sense-memory, as if inviting the viewer into her own state of mind.

By Chris Shields | March 14, 2023
At the Museum

Herbaria offers audiences a unique meditation on extinction and preservation in the twinned worlds of plants and film. Shot on 35mm and 16mm, this mysterious, at times cryptic, essayistic work takes viewers to two locations: the seemingly disparate Buenos Aires Botanical Garden and the Museo del Cine.

By Max Carpenter | March 10, 2023

Like most changed realities after COVID, there is ample fodder for both hope and concern. While centrally located theaters are thriving marvelously, places a little off the beaten track are having more trouble than usual coaxing people to journey out for old films.

By Chloe Lizotte | March 8, 2023
Event Horizon

While watching these world-famous women pantomime Brady fandom, I thought, bizarrely, of people I knew, wrapped up in different fascinations; I wondered about the importance of spectatorship to everyday life.

By Matthew Eng | February 9, 2023
Festival Dispatch

Little Richard: I Am Everything, The Disappearance of Shere Hite, Going to Mars: The Nikki Giovanni Project, The Stroll, A Still Small Voice

By Caitlin Quinlan | February 8, 2023
Festival Dispatch

Featuring reviews of Gush, A Common Sequence, Last Things, All Dirt Roads Taste of Salt, and You Hurt My Feelings