Goings-on at Museum of the Moving Image

By Chloe Lizotte | May 7, 2020

The subjects Skoog follows the closest end up on the fringes of group gatherings. As that world seems less stable, the implication looms that technology and industry irreparably threaten the land we still very much depend on.

By Caden Mark Gardner | April 29, 2020

Pia Hellenthal did not want Searching Eva to be slotted into one type of film, in the same way its subject seeks not to be pigeonholed into one identity.

By Susannah Gruder | April 20, 2020

For Eborn, the focus of Transnistra is more personal than political. “My work begins next to the character,” she said. “There’s a world around them that’s potent, it’s alive somehow. The inspiration comes from this person.”

By Daniel Witkin | April 7, 2020

"Discovering how much critical documentation of the occupation existed from very early on led me to the understanding that to try to approach this question I shouldn’t necessarily be looking only at the media or the makers of it, but rather at the eyes that see that media."

By James Wham | March 31, 2020

It 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.

By Sarah Fonseca | July 19, 2019

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 Matt Connolly | February 7, 2019

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

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

By Giovanni Vimercati | January 19, 2019

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.

By Nick Pinkerton | January 18, 2019

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 Caroline Madden | January 18, 2019

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

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

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

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.