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

Phases of Matter is not interested in the hospital as a site of sickness. Tortum’s documentary is concerned with workers—the human element that can transform the moribund into a “festive” feeling—following the daily doings of surgeons, nurses, janitors, dieners, students, and professors.

The chaos of the moment feels aptly reflected and deeply felt in both a Bogdanovich slapstick classic from the seventies and a Hammer horrror gem from the sixties.

This column will not simply be about great films we saw in theaters, but about films on which are imprinted the mental traces of the past, of the ineffable experiences of seeing them at a certain point in our personal histories.

In this ongoing column, one writer will send another a new piece of writing about a film they have been watching and pondering over, in the hopes that this will prompt a connection to a different film the other has been watching or is inspired to rewatch.

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.

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.

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

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"

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.

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

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.

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.