By Fernando F. Croce | February 10, 2016
See It Big

Herzog rarely misses a chance to leap on canoes, wade through sludge, and handle native arrows. When he faces the camera and bares his zeal and fears, one glimpses a man capable of directing as well as starring in Moby Dick.

By Michael Koresky | January 29, 2016
Festival Dispatch

The camera is weapon and savior, mediator and patient observer, but it is never objective in Cameraperson, an extraordinary and singular filmmaking document by Kirsten Johnson that quietly lorded over everything I saw at the 2016 Sundance Film Festival.

January 20, 2016
Years in Review

Movie of the Moment (for Worse), Best 3D, Best Failed Franchise Launch, Subprime Cinema Award, Most Metaphors, Worst Eating Habits, Paul Giamatti Award for Overacting, The Golden Torso Awards, and more!

By Michael Sicinski | January 20, 2016
At the Museum

With naked bodies slowly twisting and writhing in a thick, inky chiaroscuro, a hazy but unidirectional light giving definition only to the rounded forms and flexing musculature of the women onscreen, it is clear that Grandrieux has painting on his mind.

By Jordan Cronk | January 19, 2016
At the Museum

Kämmerer has, over ten years and as many films, established himself as one of Europe’s most exciting and formally economic young filmmakers.

By Jordan Cronk | January 14, 2016
At the Museum

"The film is never going to be transferred to digital. It always has to be shown as film, and it was constructed as a palindrome, so it could be shown from either end, and you can’t really do that with digital."

By Michael Sicinski | January 13, 2016
At the Museum

This mournful film takes the utopian aspiration of Communist dreams seriously, without overlooking the dangerous faults at their core.

By Michael Pattison | January 12, 2016
At the Museum

"All the shots in my films are always the same, but they are different from one film to the other. In this film I did not want it to be too long. They are about fifteen seconds. It is the minimum. I cannot make this film with shots of less than fifteen seconds."

January 11, 2016
Years in Review

Me and Earl and the Dying Girl, Youth, Son of Saul, Kingsman: The Secret Service, Sicario, Goodnight Mommy, Mommy, The Overnight, The Tribe, Legend, Jenny’s Wedding

By Michael Sicinski | January 6, 2016
At the Museum

Often the idea of the avant-garde implies a somewhat detached, contemplative mode of viewing, and this aesthetic stance is kilometers away from Gagnon’s bailiwick. Of the North seems to invite rubbernecking more than any conventional audienceship.

January 4, 2016
Years in Review

In Jackson Heights, Carol, The Assassin, Clouds of Sils Maria, Timbuktu, Hard to Be a God, Arabian Nights, The Look of Silence, Eastern Boys, Horse Money

By Leo Goldsmith | January 4, 2016
At the Museum

This elegiac essay-portrait is unexpectedly timely; it concerns Portuguese cinema and its uncanny position between life and death, past and future. Its subject is a legendary film scholar, programmer, and longtime head of Cinemateca Portuguesa.

By Monty Majeed | December 10, 2015
At the Museum

“I am not a political commentator. But as an artist, I feel that the authorities must allow dissent. There has to be a space for protest in society. There has to be freedom of expressing our disapproval of the state of things as well. This right cannot be taken away from the people.”

The Witch, The Hound of the Baskervilles, In the Mouth of Madness/Hair, Ringu, The Visit, Nosferatu the Vampyre, Carrie