Goings-on at Museum of the Moving Image

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.

By Ela Bittencourt | January 13, 2019

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

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

By Emma Piper-Burket | January 11, 2019

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.

By Daniel Witkin | January 10, 2019

To process the layers of brutality and often half-hearted deceit that constitute much of contemporary public life in the former Soviet Union is no enviable task, but Loznitsa has taken it up with gusto.

By Demi Kampakis | December 5, 2018

Close is the kind of actor who excels at navigating the delicate balance between intense physicality, brewing shrewdness, and shattering vulnerability, which is why even her most morally compromised characters nonetheless have familiar strokes of humanity and sympathy.