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

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.

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.

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.

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

Sure, I make films as an artistic pursuit as an artist, but I make films to help my characters, my friends first.

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.

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.

There is this diffusion to the image projected on the glass. The glass has this inherent texture, and the way color looks on it is not natural… it’s not quite like Technicolor, maybe more like two-strip Technicolor, or even some early hand-colored things.

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

The full scale of our emotions is cinematically clarified throughout these 13 films, chronicling a continuous transmutation of feeling into thought.

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.