Goings-on at Museum of the Moving Image

By Greg Cwik | February 2, 2023

The ghost of Bogart hovers over two films from the 1970s that are screening in the Snubbed series, selections that exemplify the Academy’s indifference to unlikable antiheroes adrift in diffuse underworlds.

By Z. W. Lewis | November 14, 2022

Tsuchimoto made more than a dozen more films about Minamata, which reflects a level of personal dedication unrivaled by most other documentarians. He also made films about student revolts, the plight of the average fisherman, Siberia, and Afghanistan.

By Greg Cwik | October 20, 2022

Translating Poe to a visual medium is an inherently tricky endeavor: though the plots of his stories lend themselves to film, the everlasting poignancy of his work is his deft use of language to conjure moods of ominous ineffability.

By Sarah Fensom | September 23, 2022

That tension that Caan carries merely by being on-screen might be best exemplified in The Gambler, the 1974 film directed by Karel Reisz from a James Toback script. It follows Caan as Axel Freed, a clever Harvard-educated literature professor and gambling addict from a well-to-do New York Jewish family.

By Chris Shields | June 25, 2022

An appreciation of George A. Romero's beloved, decades-spanning horror epic, in conjunction with MoMI's screening series Films of the Dead: Romero & Co., June 25–July 30.

By Eric Hynes | April 8, 2022

I really wanted us to experience the way that history and our representation of truth is mediated through images, through popular culture, through the news, through horror films, and through archives of therapy sessions.

By Chloe Lizotte | March 25, 2022

The title of Vengeance Is Mine, All Others Pay Cash may be slick and playfully edgy, but in ironic passages, Edwin ruptures that tone.

By Matthew Eng | March 23, 2022

Feathers is a caustic rejoinder to a country still dragging its feet on gender parity, particularly when it comes to the issue of labor.

By Bedatri D. Choudhury | March 21, 2022

The film dissects the status of Bangladesh as a postcolonial nation that, like many other postcolonial nations, tries to establish itself as a free nation while holding onto symbols that tie it back to the period it wants to (impossibly) outgrow.

By Chris Shields | March 20, 2022

The Balcony Movie is about the contingency of human perspective and what that means for our lives and relationships, but it is also about what thoughtful works of art can create.

By Vikram Murthi | March 19, 2022

The premise/gimmick features Guido Hendrikx behind the camera as he approaches the doorsteps of strangers and stands there waiting for any kind of encounter.

By James Wham | March 19, 2022

These evidential images provide a midpoint between knowledge and history, and between a subjective and objective truth. This is the framework for Loznitsa’s archival cinema: a kind of foundation on which we can build a better understanding of the world.

By Jeff Reichert | March 18, 2022

Over the course of four hours, Loznitsa constructs a granular record of Lithuania’s moves towards independence.

By Mark Asch | March 17, 2022

The film, starring Adele Exarchopoulos as a hard-living, pain-numbing flight attendant on a fictional low-cost carrier, is a welcome indictment of the leisure culture and spiritual malaise of the Common Market.