By Kelli Weston | February 9, 2024
This Must Be the Place

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.

By Juan Barquin | February 1, 2024
Festival Dispatch

Love Machina, Desire Lines, Sebastian, Bold Eagle, Stress Positions, I Saw the TV Glow

By Eileen G'Sell | February 1, 2024
Festival Dispatch

My Old Ass, Good One, How to Have Sex, Essex Girls, Suncoast

January 26, 2024
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!

By Chloe Lizotte | January 24, 2024
Event Horizon

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.

By Jordan Cronk | January 19, 2024
Text of Light

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.

January 17, 2024
Years in Review

May December, Killers of the Flower Moon, Showing Up, Our Body, Fallen Leaves, Trenque Lauquen, Asteroid City, All of Us Strangers, Pacifiction, The Zone of Interest, All Dirt Roads Taste of Salt

It is only through environmental context that its sparse narrative reveals itself, and even then the game is content to leave things unexplained by its wild, cosmic ending.

By David Schwartz | December 14, 2023
At the Museum

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.

By Jordan Cronk | November 20, 2023
Text of Light

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.

By Michael Koresky | November 15, 2023
Todd Haynes

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.

November 13, 2023

Buy this new anthology exclusively from Museum of the Moving Image's online shop or in the Museum's store on-site.

The Haunting, Cat People, Possibly in Michigan, The City of the Dead, Dragonwyck, The Eternal Daughter, Ghostwatch.