A documentary about the 9to5 women's movement and an unsung Linklater drama paint an urgent portrait.

September 11, 2020
At the Museum

We’re trying out something new this week, and switching to Wednesdays. Same time: 5:00pm. Now you can use Reverse Shot to help you get over the midweek hump! Next week, we are pleased to welcome The Criterion Collection's Andrew Chan and Metrograph's Aliza Ma.

By Simran Hans, Vikram Murthi | September 1, 2020

Amidst isolation and precautionary measures, this week's paired-up writers find momentary solace—if not true escape—in the worlds of confounded men trying to get away from it all.

A 1959 postapocalyptic melodrama with Harry Belafonte and a recent domestic portrait set in 1960 have this week’s pair of writers thinking about displacement in America.

August 25, 2020

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By Chloe Lizotte | August 21, 2020
Event Horizon

This is a distinctly contemporary American hellscape, but if Charlie Chaplin and Jacques Tati were socially aloof within environments of cold modernity, O’Malley’s outcasts can barely communicate as they navigate a world corroded by mediation.

By Bedatri D. Choudhury | August 19, 2020
At the Museum

“Documentary, through its earliest forms, is a colonial concept. The white man appears and then because he is the master, he unveils the story the way he sees it. He, literally, becomes the seer,” says filmmaker Marjan Safinia who, for the past 20 years, has been collaborating on documentaries.

By Josh Cabrita, Violet Lucca | August 17, 2020

Two women try to make philosophical and moral sense of the increasingly confusing world in which they live in this week's pair of films, which speak across centuries and countries.

By Susannah Gruder | August 5, 2020
At the Museum

The corrections center actually functions as a reprieve for many of these women, who went from abusive childhoods straight into abusive marriages when they were as young as 12. The fact that a male filmmaker is let into this world shows their trust of him.

By Edo Choi, Kelli Weston | August 3, 2020

Two writers dive into the deep, red waters of genre and wade through issues of racial and gender othering.

The dog days of this particularly dogged summer are getting to this week's pair of writers, who retreat to summer visions in which youthful expectation and adult anxiety make for fellow lazy sunbathers.

By Vadim Rizov | July 17, 2020
Our House

The Paramount is the first theater I formed an attachment to for a reason other than it being a nearby multiplex. I have inevitable nostalgia for a space I haven’t entered in a decade: I don’t need to see it in person again to realize the lobby was even smaller than I probably registered.

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.

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.