Reverse Shot A different angle on moving images—past, present, and future

To play FIFA ’14 is less to play at what it is like to “actually” play soccer, but instead focuses on mixing together a sense of actually playing soccer with a sense of experiencing soccer as it is most commonly experienced through the television screen.

As it’s struggled to maintain its independence and possibly its existence, the Cinema Museum has had to navigate between the idealized cosmopolitanism of international film culture and its country’s increasingly tenuous relationship with the outside world.

It’s a face that obviously looks great at a glance—she’s served as a print model for L’Oréal and Bulgari—but to truly appreciate its power we need time. Julianne Moore’s face—and all that it conveys, conceals, and emblematizes—demands the dimensions of cinema.

I’m placing the scare-quotes on “film” culture because after a good 115-year run, shot-and-displayed-on-film moving image art is no longer standard, or even particularly common, in any idiom. This is not, in and of itself, a tragedy.

Worst Scene in a Good Movie, Scariest Movie, Best First/Last Shot, Best Use of Archival Footage, Dumbest “Smart-Dumb” Action Movie, Worst Delivered Line, Most Exciting Breakthrough, Worst Joke, Funniest Beefcake, and more

Mascaro’s latest is his first foray into fiction filmmaking, but like his documentary work, is grounded in the realities of contemporary Brazil, particularly as experienced by citizens situated on society’s margins.

Though nominally a documentary festival, FIDMarseille seems chiefly concerned with challenging the form and the expectations that are brought to it.

The Imitation Game, St. Vincent, The Sacrament, Jimi: All Is by My Side, Gone Girl, Finding Vivian Meier, A Most Violent Year, The Hunger Games: Mockingjay—Part 1, This Is Where I Leave You, Neighbors, Cake

The Guests is a sort of cinematic equivalent of a literary explication de texte—an exercise in which a single, brief work is made to expand, undulate, deepen, and shift shape simply by virtue of being looked at unblinkingly and at length.

The best-known member of the cohort represented in New York is Kazik Radwanski, whose debut Tower (2012) showed at dozens of film festivals around the world and garnered critical praise commensurate with his level of formal accomplishment, which is high indeed.

Boyhood, Stranger by the Lake, Stray Dogs, Goodbye to Language, The Immigrant, Manakamana, The Grand Budapest Hotel, What Now? Remind Me, The Strange Little Cat/Two Days, One Night (tie), Maidan

The fluid border between contrasting universes has long been a motif in Selick’s work . . . and here he locates an ideal topography in the sulky, inquisitive, still unformed conscious of the eponymous “dizzy dreamer.”

How, these movies ask, might we come off in the eyes of the animals, objects, and fictional creatures in our lives? And how far can we go reconstructing our own lives—political, romantic, social, religious—by analogy with those of animals and toys?

In the early nineties, London’s remaining rep cinemas were slashing prices and recycling their stock in the hope of staving off the inevitable. The market followed: an impoverished student with a bus pass, like me, could englut himself.