By Tayler Montague | March 21, 2018
Festival Dispatch

Filmmakers are actively pushing up against what it means to make a documentary at all, and the True/False Film Festival caters to and nurtures that objective. I am especially thankful to True/False for exposing me to new possibilities for Black cinema.

"It was always really interesting for me that, especially if you are improvising in a film without much preparation for your character, you are drawing on your own life and then your own life is a thing that ends up in the film, and that is . . . complicated."

Berlin 2018: Loznitsa is an assiduous practitioner of observational cinema. One may even argue that his nonfiction filmmaking is to the study of spaces charged with political memory what Frederick Wiseman is to the exploration of institutions.

By Nick Pinkerton | February 1, 2018

A series full of mistaken identities and roving impostors, Twin Peaks: The Return is a heads-up to look for cinema in places other than where it’s alleged to be found.

By Nick Pinkerton | January 31, 2018

One of the unexpected pleasures of this Twin Peaks was just how unexpected it was, how it didn’t seem interested in reheating an old dish in the name of “fan service.”

By Nick Pinkerton | January 30, 2018

Much of what is dearest in cinema can be credited to brash buccaneers and independent operators working at the periphery, though few are the film artists, like Lynch, who can maintain freedom of the margins.

By Nick Pinkerton | January 29, 2018

One of the jobs of the artist is to find the space that is most conducive to the practice of their art at the given moment; one of the jobs of a functioning cultural commentariat is to follow artists to those spaces.

January 16, 2018
Years in Review

Best Supporting Actress, Best Monologue, Worst Supporting Gay, Most Tonally Strange, Best Age-Inappropriate Romance, Paul Giamatti Award for Overacting, Best Bookends, and much more

By Jackson Arn | January 13, 2018
At the Museum

At the heart of Benning’s practice is an unmistakably avant-garde thesis: ordinary ways of experiencing reality need to be transcended with the help of cinema.

By Daniel Witkin | January 13, 2018
At the Museum

Cobbled together from home movies that the Brazilian director amassed throughout four decades living in Paris, the film constructs an autobiography of sorts from what its author happened to film over the years.

By Ela Bittencourt | January 11, 2018
At the Museum

It’s an expansive visual travel journal—Chidgasornpongse rode all of Thailand’s train lines over the course of six years—though on screen it seems as though it’s all happening in a single day (represented in 102 minutes of footage).

By Kelley Dong | January 11, 2018
At the Museum

Through its oversaturated, auto-exposed, and coarsely textured images, Let the Summer Never Come Again makes visible the mechanisms of its fiction.

January 8, 2018
Years in Review

The Shape of Water; Three Billboards Outside Ebbing, Missouri; The Disaster Artist; The Killing of a Sacred Deer; Rat Film; Wonder Woman; Victoria & Abdul; Beauty and the Beast; City of Ghosts; Baby Driver; Wind River; I Love You, Daddy

By Rooney Elmi | January 7, 2018
At the Museum

Syrian filmmaker Ziad Kalthoum has created a study of men anguished by conflict without ever exploiting their predicament.