Goings-on at Museum of the Moving Image

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.

By Ohad Landesman | January 8, 2017

Transporting the viewer into a country setting where a unique way of life is gradually disappearing, Boone comes with no expository voiceover, respects no dramaturgy, and excludes any interaction between filmmaker and subjects.

By Michael Koresky | January 7, 2017

Films as disparate as Altered States, Nosferatu, 1984, The Night of the Hunter, Repulsion, Tetsuo the Iron Man, M, and Sette note in nero are placed on the same emotional plane, each an evocation of all-purpose, free-floating, indefinable anxiety.

By Max Carpenter | January 6, 2017

Structurally, Territorio is indebted to James Benning, whose geographical features are made up of meticulous static long takes assembled around central themes. But while Benning is the master of depopulated Western landscape shots, Cuesta serves up people and faces in lieu of places.

By Daniel Witkin | January 6, 2017

The setup of the film works less as narrative than as an inception point for numerous complementary and competing layers of fiction and reality, including the test footage for the film-within-a-film, scenes relating to its production, and footage of life in Tokyo.

By Adam Nayman | October 24, 2016

Just as Jay takes his place as the figurehead of a pagan cult, so too did Kill List crown Wheatley as the king of UK horror movies when it was released theatrically, a speedy ascension to a throne that had sat vacant since the 1970s.

By Eric Hynes, Jeff Reichert | April 14, 2016

In this Reverse Shot Talkie, director Joe Frank and host Eric Hynes browse the aisles of R.A.O. Video in Little Rock, Arkansas, to discuss the unique origins and process for his debut film, Sweaty Betty.

By Michael Sicinski | January 20, 2016

With naked bodies slowly twisting and writhing in a thick, inky chiaroscuro, a hazy but unidirectional light giving definition only to the rounded forms and flexing musculature of the women onscreen, it is clear that Grandrieux has painting on his mind.

By Jordan Cronk | January 19, 2016

Kämmerer has, over ten years and as many films, established himself as one of Europe’s most exciting and formally economic young filmmakers.

By Jordan Cronk | January 14, 2016

"The film is never going to be transferred to digital. It always has to be shown as film, and it was constructed as a palindrome, so it could be shown from either end, and you can’t really do that with digital."