Visits to cinema showcases around the world

By Lawrence Garcia | September 25, 2023

So often in writing on experimental cinema (to say nothing of art in general) one is confronted with polarities of intuition and concept, emotion and intellect, feeling and form. Williams’s film demonstrates that while such distinctions may be legitimate, they need not be reified into strict dualisms.

By Eric Hynes, Edo Choi | June 1, 2023

Museum of the Moving Image film curators Eric Hynes and Edo Choi continue their chat about Cannes 2023, including comments on Killers of the Flower Moon, May December, Anatomy of a Fall, The Pot au Feu, and more.

By Eric Hynes, Edo Choi | May 26, 2023

For the second year in a row, MoMI’s film curators visited the Cannes Film Festival together. Hynes and Choi pass notes in the hall between screenings, discussing the culture of and around the festival, and, yes, the occasional film.

By Edo Choi | March 22, 2023

Our Body, one of the best documentaries I have seen in years, silenced the murmur of any externalities the moment it started, maintaining its quietly firm grip on one’s attention through every startling moment of its nearly three-hour running time.

By Matthew Eng | February 9, 2023

Little Richard: I Am Everything, The Disappearance of Shere Hite, Going to Mars: The Nikki Giovanni Project, The Stroll, A Still Small Voice

By Caitlin Quinlan | February 8, 2023

Featuring reviews of Gush, A Common Sequence, Last Things, All Dirt Roads Taste of Salt, and You Hurt My Feelings

By Juan Barquin | June 8, 2022

Death and distance play a key role in many films nominated for the Queer Palm this year at Cannes, and many of them forgo a meaningful exploration of their characters’ desires.

By Eric Hynes, Edo Choi | June 7, 2022

This was the first year that the film curators of MoMI visited the Cannes Film Festival together. Eric Hynes and Edo Choi compare notes on the scene, the culture of the festival, the slate, and what it might mean for MoMI.

By Jeff Reichert | March 15, 2022

A pleasing sense of ambient drift marked a number of the landscape-focused True/False features I saw, a welcome respite from the “story” and character-obsessed rigidity that hobbles the American commercial documentary industry.

By Kelli Weston | March 15, 2022

The most intriguing films I saw were premised upon an often performative return to the near or distant past to resolve pesky questions of home or relationships, which is to say, inevitably, questions of identity and inheritance.

By Edo Choi | March 9, 2022

Even in this capacity-reduced iteration, one sensed the anticipation of what felt like largely local crowds returning to the program, perhaps for the first time since 2020, at each sold-out Forum screening.

By Farihah Zaman | February 7, 2022

In the murky waters of documentary ethics, responsible filmmaking is not always a question of authorship, but of perspective. It is not just about who is behind the camera, but who is seen through its lens.

By Matthew Eng | February 3, 2022

Bemoaning or simply acknowledging the metastasis of the “Sundance film” has an obvious tendency of obscuring the nonfiction and non-English narrative entries that premiere at the festival and aren’t likely to be sought out by viewers, especially virtual ones.

By Susannah Gruder | January 27, 2022

Viewers watching this year’s Sundance films are being asked to interrogate their ways of seeing, coming up against films that examine perspective by more thoroughly investigating the relationship between who’s behind the camera and what we see on screen.