Goings-on at Museum of the Moving Image

By Chris Wisniewski | April 16, 2015

To the extent that Weiner conceived Peggy as a proto second wave feminist, one can see The Best of Everything’s Caroline as the template from which she is fashioned.

By Michael Koresky | March 13, 2015

There’s a central, important contradiction to the show, which is our ad-exec main character feels enormously, existentially detached from the materiality of everyday life—the very things, concepts, and ideas he is meant to be hawking (except, perhaps, for Hershey bars).

By Michael Sicinski | January 27, 2015

One could easily imagine German’s masterwork flickering through the gate in projection booths and then deposited in serpentine curlicues directly into a wet open pit, to be fermented like kimchi or composted like coffee grounds and eggshells.

By Eric Hynes | January 21, 2015

It’s a face that obviously looks great at a glance—she’s served as a print model for L’Oréal and Bulgari—but to truly appreciate its power we need time. Julianne Moore’s face—and all that it conveys, conceals, and emblematizes—demands the dimensions of cinema.

By Nick Pinkerton | January 17, 2015

I’m placing the scare-quotes on “film” culture because after a good 115-year run, shot-and-displayed-on-film moving image art is no longer standard, or even particularly common, in any idiom. This is not, in and of itself, a tragedy.

By Michael Sicinski | January 16, 2015

Mascaro’s latest is his first foray into fiction filmmaking, but like his documentary work, is grounded in the realities of contemporary Brazil, particularly as experienced by citizens situated on society’s margins.

By Genevieve Yue | January 9, 2015

Though nominally a documentary festival, FIDMarseille seems chiefly concerned with challenging the form and the expectations that are brought to it.

By Max Nelson | January 8, 2015

The Guests is a sort of cinematic equivalent of a literary explication de texte—an exercise in which a single, brief work is made to expand, undulate, deepen, and shift shape simply by virtue of being looked at unblinkingly and at length.

By Adam Nayman | January 8, 2015

The best-known member of the cohort represented in New York is Kazik Radwanski, whose debut Tower (2012) showed at dozens of film festivals around the world and garnered critical praise commensurate with his level of formal accomplishment, which is high indeed.

By Imogen Sara Smith | November 18, 2014

“A singular being in a plural world” is how Jean Cocteau described the French director Jean Grémillon. His films are sensitive to the tensions between individuals and communities, between the cyclical patterns of daily life and the private obsessions or conflicts that break these rhythms.

By Nick Pinkerton | November 6, 2014

An inventory of just about everything that the cinema could do in the year 1931, quite a lot of which still outlines its capabilities today.

By Aliza Ma | October 17, 2014

Jia assembles oral histories from individuals shaped by the political upheavals of the last fifty years, opening a new window onto their history and ameliorating a vacuous modernity brought upon Shanghai by the frenzy of the new millennium.

By Andrew Chan | August 12, 2014

If the critical community’s collective prejudice against the “message movie” becomes rigid dogma, then it will miss out on works such as those by pioneering Hong Kong filmmaker Patrick Lung Kong.