By David Schwartz | March 31, 2023
At the Museum

Jeanne Dielman asserts the importance of its subject while also asking us to reconsider what we look for in—and how we look at—a movie. We inhabit what feels like a simulation of real time, confined except for the occasional errand, to the interior of 23 quai du Commerce.

The focus on the packaging and commodification of these plants and vegetables demystifies the agrestal fantasy of so many of our products. At first numbing, Ortín’s images of rote mechanical production begin accruing a subtlesense of dread, appearing as an unbroken and uncaring process.

By Julia Gunnison | March 26, 2023
At the Museum

Melnyk had set out to make a strictly observational documentary. On the ground in Stuzhytsia, he found it impossible to maintain the distance this approach required.

By Edo Choi | March 22, 2023
Festival Dispatch

Our Body, one of the best documentaries I have seen in years, silenced the murmur of any externalities the moment it started, maintaining its quietly firm grip on one’s attention through every startling moment of its nearly three-hour running time.

By Vikram Murthi | March 19, 2023
At the Museum

Art Talent Show illustrates how hyper-individualism dominates artistic philosophy in the younger generation; many prospective students talk about wanting to communicate their essence or their worldview with their work.

A terrible event occurs, which would send most families into spontaneous combustion, but in true Fukada fashion, everything quietly implodes, and everyone is left to grapple with things in messy, dirty ways that feel truer to how our hearts and brains function.

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 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.