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

The Zellners do not lean into such a crude comparison, yet it is hard not to read the dissolution of the cryptid community as an echo of the real-life devastation settler-colonialism has wrought on this continent’s peoples.

This film is incendiary, but it should be discussed not just for its controversy. What makes this film significant is how it engages with the iconography of IP superhero blockbuster cinema and with the trans film image.

There is nothing new under the sun in the films of Alice Rohrwacher, which pay their respects to the beauty and mystery of older civilizations while suggesting that exploitation—of people, and of physical and spiritual resources— is almost as ancient as the world itself.

The village first drew Zhang Mengqi back as a subject in filmmaker Wu Wenguang’s Folk Memory Project, a collection of oral histories from people who lived through the Great Famine.

Like Godard, Radu Jude is acutely aware of how every image or sequence of images can be sorted into genres, textures, colors, references, and so on, categories whose associations stretch back into the whole of cinema’s past.

Being lost is a condition of possibility, which the film’s characters practice half with intention and half by circumstance.

That the output of Fessenden over four decades has been taken for granted is one thing, but it is more like his being taken for granted has itself been taken for granted, as grimly self-fulfilling as any dark prophecy about pentagrams and the need to stay off the moors.

Shot on a combination of MiniDV, Betacam, and 16mm, Arthur&Diana is laden with nostalgic references. Locations are filmed in color with a handheld camera evoking the Dogme 95 movement.

Midi Z’s film, shot between 2017 and 2023, documents the period leading up to the 2021 coup by the Tatmadaw—Myanmar’s military—that deposed the democratically elected National League for Democracy and installed a military junta.

Prayers for the Stolen showed her preternatural knack for filming space and time in a realist mode, but Tatiana Huezo's approach to her latest work is even more impressive.

Delineating a war requires accounting for tremendous complexity and historical context that’s difficult to capture in 120 minutes. But as this film conveys, the best storytellers are the city streets.

The film is another of brothers Bill and Turner Ross’s immersions in the regional euphoric...The filmmakers are after a kind of Herzogian ecstatic truth, often to be found in the kinds of spaces where someone is likely to be rolling on literal ecstasy.

Forgoing any touristic impulse, Patiño takes his cues from filmmakers such as Peter Hutton and especially Mark LaPore, charting not only the people and places before him but also his fundamental distance from those environments.

The Featherweight actively engages with core ideas behind direct cinema and verité, residing in a blurry middle ground between the two genres, that is between minimizing a documentarian’s presence and actively participating in the action.