By Jasmine Liu | March 21, 2024
First Look 2024

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

By Adam Nayman | March 19, 2024

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.

By Clara Cuccaro | March 17, 2024
First Look 2024

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.

By Chris Shields | March 17, 2024
First Look 2024

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.

By Julia Gunnison | March 17, 2024
First Look 2024

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.

By Michael Sicinski | March 16, 2024
First Look 2024

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.

By Vikram Murthi | March 16, 2024
First Look 2024

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.

By Emma Ward | March 16, 2024
First Look 2024

Vardanyan weaves back and forth between depictions of creation and destruction, presence and absence, the emotional and the bureaucratic. That these apparent paradoxes coexist onscreen emphasizes the incomprehensibility of the family’s situation as a whole.

By Sarah Fensom | March 15, 2024
First Look 2024

Philly Abe is not just a beleaguered downtown tenant fighting rapid gentrification, she’s also an avatar for a fading New York.

By Chris Shields | March 14, 2024
First Look 2024

Whereas the towering novel from which it takes its name, a timely meditation on the political and cultural environment in Europe leading up to the first world war, lives largely in its characters, Chachia and Voigt’s film, instead, personifies the “magic mountain” itself to unique and ghostly effect.

By David Schwartz | March 14, 2024
First Look 2024

Drawing inspiration from Resnais’s film and Lem’s novel (but mostly from the latter), the Polish director, film professor, and cineaste Kuba Mirkuda has created in Solaris Mon Amour a one-of-a-kind archival masterwork.

By Mark Asch | March 13, 2024
First Look 2024

New York is always being built and rebuilt on its own ruins, and this palimpsestic vision of the city is inextricable from the consequences of gentrification—the city is always ejecting people like Dakota from its slipstream.

By Caitlin Quinlan | March 12, 2024
First Look 2024

Around every corner, there are temptations and dangers calling him back to an old way of life. Yet in Sujo, which accompanies and expands upon Identifying Features so profoundly, hope is the sustaining force. Opening Night selection of First Look 2024 at Museum of the Moving Image.