Goings-on at Museum of the Moving Image

By Kelley Dong | January 11, 2018

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

By Rooney Elmi | January 7, 2018

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

By Julien Allen | January 7, 2018

In just 50 minutes, nooks and crannies of humanity are explored with a deftness and potency it would normally take a six-part TV series to uncover.

By Chloe Lizotte | January 7, 2018

Spanning three visits to Chongqing over the course of one year, the film focuses on three of Shibati’s residents as they reckon with forced displacement and the dismantling of their homes and businesses.

By Caroline Madden | January 6, 2018

Shot in Poland for 35 days over the course of a year, this debut feature unfolds in a measured and unvarnished style that reflects the anthropologist eye of director Anna Zamecka.

By Ela Bittencourt | January 5, 2018

Ghost Hunting, which won a special prize at the 2017 Berlinale for Palestinian filmmaker Raed Andoni, is a relatively cool and sober restaging of interrogations and tortures suffered by prisoners in the Israeli interrogation center Moskobiya.

By Michael Sicinski | January 5, 2018

In Colo, three relatively ordinary people, a teenage girl and her two parents, are struggling to make ends meet. But by the end of the film, they are entirely new, having been shattered by trauma and reassembled into damaged, isolated individuals.

By Devika Girish | November 10, 2017

The proliferation of domestic film festivals and the support of the National Film Development Corporation of India have facilitated an increasing number of local, out-of-mainstream spaces for film production and viewership, enabling the rise of regional independent movements.

By Emma Piper-Burket | January 14, 2017

Three documentary shorts in First Look 2017’s Strange but True: Shorts Program II work in tandem to paint a portrait of a particularly American brand of hope; it is tender, a little tragic, and it does not come in HD.

By Jordan Cronk | January 13, 2017

“The words written in the script are really just for my reference. I never show the actors the screenplay. I find I always get better results with the dialogue if we do some improvisation and run through the scene a few times.”

By Nick Pinkerton | January 13, 2017

The unusual, unsparing, and sometimes leering candor of Helmut Berger, Actor is made possible by the fact that the film’s subject seems to be totally absent any self-censoring mechanism. His substance intake may have some part in this.

By Michael Sicinski | January 12, 2017

The screen, apart from some video scan lines and the usually-but-not-always present image of a refugee boat carrying 13 men, is little more than a blue rectangle, the Mediterranean Sea on a particularly sunny day.

By Ela Bittencourt | January 12, 2017

This new program of international avant-garde film and video, she curated for the Museum of the Moving Image, celebrates older works (most of them forgotten) while placing a strong emphasis on the new.

By Jackson Arn | January 10, 2017

The most intriguing draw is a 38-minute Eternalist collage of footage taken by New Yorkers on the day of the World Trade Center attack.