Coded Bias, Time, and A Thousand Cuts are films made by women of color about women of color who have had enough with the status quo and taken it upon themselves to demand justice on their own terms.

By Susannah Gruder | January 29, 2020
Festival Dispatch

While I tend to chafe at categorizing directors based on gender, each of these films is richer as a result of their lived experience as women, and the particular struggle of searching for agency in a world that limits it.

January 14, 2020
Years in Review

Biggest Offense, Best Car Chase, Most Unexpectedly Kubrickian, Biggest Missed Opportunity, Best Audience Experience, Most Offensive Archival Project, Best Long Takes, Most Jaundiced Take on Relationships, Best Reverse Shot, and much more

January 3, 2020
Years in Review

The Irishman, The Souvenir, Parasite, Atlantics, Uncut Gems, Transit, A Hidden Life, High Life, Portrait of a Lady on Fire, Once Upon a Time ... in Hollywood

Following the New York theatrical premiere of the Reverse Shot production Feast of the Epiphany, the feature film from Michael Koresky, Jeff Reichert, and Farihah Zaman, we're excited to announce Los Angeles dates for the Acropolis Cinema at the Lumiere Music Hall in January.

Unfriended: Dark Web, Penda's Fen, The Collector, The Queen of Spades, Angst, Amazing Stories: "Go to the Head of the Class"

By Tayler Montague | October 26, 2019
Festival Dispatch

As a viewer and participant, I was increasingly aware that the objective of the festival was to be a space in which we questioned and looked closely at the historical work and power imbalances that have long existed within the documentary form.

By Lawrence Garcia | September 19, 2019
Festival Dispatch

Eloy Enciso’s Endless Night, Maya Da-Rin’s The Fever, Gabino Rodríguez’s My Skin, Luminous, Affonso Uchôa’s Seven Years in May, Ben Rivers and Anocha Suwichakornpong’s Krabi, 2562, Philipp Fleischmann’s Austrian Pavilion, James N. Kienitz Wilkins’s This Action Lies, Annie MacDonell’s Book of Hours, Sergei Loznitsa’s State Funeral, and more

By Sarah Fonseca | July 19, 2019
At the Museum

Hammer craved ancestral knowledge. There were the early conquests of those who surrounded her. And then, in later films, there was the unrequited challenge of women who came before her; these are the efforts that endure most potently.

By David Schwartz | April 10, 2019

Close to hour five, his mouth flutters and he breathes a bit spastically, like he is about to wake up. Coming after the preceding stillness, the moment hits like an explosion in an action movie. But the film will end without him actually waking.

By Matt Connolly | February 7, 2019
At the Museum

The tonal, visual, and thematic contrasts between these two masters of British filmmaking all seem to converge around their seemingly diametric views of mother England: a sober bulwark of civilization for Jennings; a largely hollowed-out husk for Jarman.

By Nick Pinkerton | January 19, 2019
At the Museum

Gagnon makes work that’s legitimately punk as fuck—bleak, scabrous, and resounding with a madman’s cackle.

By Giovanni Vimercati | January 19, 2019
At the Museum

Toni Geitani’s debut feature focuses on the evanescence of historical and national memory as experienced by the first generation that did not see corpses lying in the streets but grew up surrounded by their ghosts.

January 19, 2019
Years in Review

Best Musical, Best Supporting Actor, Best New Old Movies, Most Irritating Camera Lens, Best Action Sequence, Best Remake, Trailer of the Year, and more!