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!

By Nick Pinkerton | January 18, 2019
At the Museum

Claire Simon has been working steadily in the cinema since a mid-1970s internship with Algerian filmmaker Mohammed Lakhdar-Hamina, and has been directing both narrative and nonfiction films for over 30 years now.

By Emma Piper-Burket | January 18, 2019
At the Museum

The slow escalation throughout the film builds to show quite clearly how the confluence of time, boredom, prejudice, and weaponry create a situation with devastating consequences for all involved.

By Caroline Madden | January 18, 2019
At the Museum

In fragmented short scenes intertwined by the turn of chance, Possible Faces keenly studies aimless characters whose lives pinball between despair and grasping the last vestiges of hope.

By Caroline Madden | January 15, 2019
At the Museum

Schmitz whittles a leisurely yarn with only the most threadbare of narrative action. He shot with no formal script or framework in mind, content to merely observe in fixed, distant shots the desultory minutiae of his hapless subjects.

By Jordan Cronk | January 15, 2019
At the Museum

If, as the saying goes, the devil is in the details, then Chris Kennedy’s 36-minute marvel Watching the Detectives finds in that idea a working metaphor for the modern condition.

By Rooney Elmi | January 14, 2019
At the Museum

Ambulante Más Allá is a roving documentary festival launched in 2005 that provides the framework for building a inclusive independent filmmaking infrastructure, reclaiming an often maligned community and helping them curate their own identities on and off screen.

By Ela Bittencourt | January 13, 2019
At the Museum

The Pluto Moment by Zhang Ming is a delightful, quietly subversive film that, under the veil of a personal story, smuggles in details about the current cultural moment in China.

By Michael Sicinski | January 12, 2019
At the Museum

The Family confronts us with situations that are perfectly ordinary, without directing our interpretation. It’s only outside knowledge that complicates matters.

January 12, 2019
Years in Review

Vice, Suspiria, Green Book, Halloween, Ocean’s 8, Bohemian Rhapsody, Tyrel, Peter Rabbit, Chappaquiddick, Solo, A Quiet Place

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By Emma Piper-Burket | January 11, 2019
At the Museum

Vitaly Mansky’s latest film is a personal document of historical reckoning culled from hundreds of hours of footage collected during his tenure as official videographer for Putin’s election campaign and early presidency.