Goings-on at Museum of the Moving Image

By Imogen Sara Smith | May 2, 2024

These are films about transients and transience, punctuated by soft dissolves and ellipses; sometimes people fade out of the frame like smoke, or vanish and reappear further away. Shimizu’s formalism and his humanism go hand in hand.

By Greg Cwik | April 11, 2024

The technical bombast retains its power, but the extended cut is concerned with more emotional matters. In the early, banal behavior of the working-stiff crew, in their interactions and the unsaid meanings behind innocuous utterances and the contradictory, incongruous interactions of lapsed lovers, there is authenticity.

By David Schwartz | December 14, 2023

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.

By Keva York | October 8, 2023

Released in 1999, a year now fetishized as the last great flowering of the domestic cinema, American Movie encapsulates the shaggy, aspirational optimism of a quashed era, and one worthy of romantic remembrance.

By Greg Cwik | June 6, 2023

Fox remains underappreciated, even though his name is universally known. Fox is perhaps the sitcom performer who most successfully translated his innocent ebullience and endearing kineticism from television to film.

By Chris Shields | April 28, 2023

The film has a knack for unexpected turns, avoiding the obvious in favor of sly emotional crescendos. The Eight Mountains takes care to do just enough dramatic sculpting to make sure its emotional inflection points resonate.

By Jasmine Liu | April 18, 2023

Paying attention to minor characters constitutes not just an act of care for them but a whole difference in epistemology. This insight is core to Jill, Uncredited, a 17-minute short directed by Anthony Ing that splices together scenes of 78 films featuring background actor Jill Goldston from her half-century-long career.

By Frank Falisi | April 8, 2023

Does folklore come to us or react to what we give it? Mami Wata, C.J. “Fiery” Obasi’s third feature and the first by a Nigerian filmmaker to premiere at Sundance, is principally concerned with the meaning and scope of the stories we pass to each other.

By Emma Ward | April 3, 2023

The River Is Not a Border retraces the events of 1989 with an attentive but unobtrusive hand. Diago casts his participants not just as subjects but as storytellers, resulting in a film guided more by memory and feeling than historical fact or cinematic flair.

By Clara Cuccaro | March 31, 2023

When Julia is alone and physically grounded on the Earth rather than speeding down the highway, Quivoron examines her queer performance. Rodeo is at its most mesmerizing when Julia’s hair isn’t whipping in the wind.

By David Schwartz | March 31, 2023

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.

By Nicolas Pedrero-Setzer | March 26, 2023

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

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 Vikram Murthi | March 19, 2023

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.