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This week’s pair of writers semi-escape from their respective realities in São Paulo and New York by entering worlds of noir-ish fatalism and ironic hope with Kaurismäki and Truffaut.

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By Beatrice Loayza | July 2, 2020
Our House

“Hit” movies have largely been eradicated from my theater-going diet—a rather cleansing effect. Yet I find myself missing that view from the balcony, the feeling of peering down at those churning, sexless spectacles, and the slightly melancholic indifference of it all.

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By Nicholas Russell | June 26, 2020

The Vast of Night is a riff by debut filmmaker Andrew Patterson on black and white nostalgia, featuring quippy fast-paced conversations and a fondness for the hand-built and the hand-cranked.

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This week’s critics come together to officially put a nineties lesbian coming-of-age comedy and a sixties Hong Kong musical romance in the queer canon.

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By Caden Mark Gardner | June 19, 2020

There is a difference between making a film of sociopolitical and cultural value and making a film about important sociopolitical and cultural matters. In some cases the latter may beget the former, but it is not a given.

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By A.G. Sims | June 19, 2020

Lee has never been any more obsessed with race than the country he has vigorously documented over the course of his multi-decade career. The ideas he explores and the stories he tells about the myriad of black experiences seem excessive only in a canon that all but ignores them.

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By Matthew Eng | June 17, 2020

The distracting, uniform beauty of the ensemble lends Assayas’s film an almost classical glamour that threatens to redirect our focus away from narrative events and the infrequent feint at political insight.

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By Michael Koresky | June 16, 2020

His movies are about fraught relationships and breakdowns in communication, but without any histrionics; they often fracture time and chronology, but not in a cloying or self-consciously experimental way. They are so emotionally transparent that they run the risk of being mistaken for simple-minded.

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By Caroline Golum | June 12, 2020
Our House

At peak attendance, I was averaging three screenings a week, sometimes with a date or with girlfriends, but just as often alone. Unfettered by school, an uncertain future, or the world at large, I would plop myself down fourth row center. Just me, my popcorn, a sketchbook, and my feelings.

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By Genevieve Yue | June 10, 2020

Yourself and Yours, from Hong Sang-soo, is like a hall of mirrors, where likenesses are cast in multiple and often dissembling ways.

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This week's pair of writers raise questions about contemporary pedagogy and parenting, sci-fi and fairy tales, isolation and ash, with an R-rated future parable and a trip back to storybook land.

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| May 31, 2020

From our archives: writing on films that have been on our minds, featuring Ela Bittencourt, Ashley Clark, Michael Koresky, Joanne Kouyoumjian, Emma Piper-Burket, Jeff Reichert, Genevieve Yue, Farihah Zaman, and more.

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By Susannah Gruder | May 29, 2020
Our House

There is that split-second of darkness. In the cinema, it comes between the last trailer and the film you came for. In the theater, just after the house lights dim completely. It is a feeling of being on the threshold of something unknowable.

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On the surface, the four films are vastly different in both subject matter and approach, yet an unexpected sense of unity forms when they are viewed together.

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Watch Feast of the Epiphany and support Museum of the Moving Image! The first film from Reverse Shot is now available online for the first time. More theaters coming soon.