Visits to cinema showcases around the world

By Eric Hynes, David Schwartz | May 23, 2024

For the third year, Museum of the Moving Image film curators have visited the Cannes Film Festival and have engaged in a dialogue about the films on offer.

By Tiffany Joy Butler | April 26, 2024

The most striking films I saw while attending the 21st edition of True/False Film Fest in the quaint college town of Columbia, Missouri, had me pondering fulfillment and disconnection in the technological age.

By Nicolas Rapold | March 27, 2024

Threaded throughout No Other Land are scenes conveying the warm friendship between Abraham and Adra, who is initially skeptical of whether his companion’s exposés will have much effect; their chats, filmed by Szor, are oases of communion and symbolic potential in a rocky, increasingly insecure landscape.

By Juan Barquin | February 1, 2024

Love Machina, Desire Lines, Sebastian, Bold Eagle, Stress Positions, I Saw the TV Glow

By Eileen G'Sell | February 1, 2024

My Old Ass, Good One, How to Have Sex, Essex Girls, Suncoast

By Lawrence Garcia | September 25, 2023

So often in writing on experimental cinema (to say nothing of art in general) one is confronted with polarities of intuition and concept, emotion and intellect, feeling and form. Williams’s film demonstrates that while such distinctions may be legitimate, they need not be reified into strict dualisms.

By Eric Hynes, Edo Choi | June 1, 2023

Museum of the Moving Image film curators Eric Hynes and Edo Choi continue their chat about Cannes 2023, including comments on Killers of the Flower Moon, May December, Anatomy of a Fall, The Pot au Feu, and more.

By Eric Hynes, Edo Choi | May 26, 2023

For the second year in a row, MoMI’s film curators visited the Cannes Film Festival together. Hynes and Choi pass notes in the hall between screenings, discussing the culture of and around the festival, and, yes, the occasional film.

By Edo Choi | March 22, 2023

Our Body, one of the best documentaries I have seen in years, silenced the murmur of any externalities the moment it started, maintaining its quietly firm grip on one’s attention through every startling moment of its nearly three-hour running time.

By Matthew Eng | February 9, 2023

Little Richard: I Am Everything, The Disappearance of Shere Hite, Going to Mars: The Nikki Giovanni Project, The Stroll, A Still Small Voice

By Caitlin Quinlan | February 8, 2023

Featuring reviews of Gush, A Common Sequence, Last Things, All Dirt Roads Taste of Salt, and You Hurt My Feelings

By Juan Barquin | June 8, 2022

Death and distance play a key role in many films nominated for the Queer Palm this year at Cannes, and many of them forgo a meaningful exploration of their characters’ desires.

By Eric Hynes, Edo Choi | June 7, 2022

This was the first year that the film curators of MoMI visited the Cannes Film Festival together. Eric Hynes and Edo Choi compare notes on the scene, the culture of the festival, the slate, and what it might mean for MoMI.

By Jeff Reichert | March 15, 2022

A pleasing sense of ambient drift marked a number of the landscape-focused True/False features I saw, a welcome respite from the “story” and character-obsessed rigidity that hobbles the American commercial documentary industry.