In the canon of the silent cinema, only once has it been truly silent. The purifying beam of Dreyer’s The Passion of Joan of Arc,…
Let us begin as I started: in media res. Two moths, born far too late to appear in the flurry of wings that made up…
Since the release of her 1995 debut feature My Sister’s Good Fortune, Angela Schanelec has become recognized as one of the most unique and significant…
Lucy Kerr’s debut feature Family Portrait is a startling discovery. An elliptical puzzle of a film that circles around a mystery that is never answered,…
Alex Ross Perry first made a name for himself in an emerging class of young New York filmmakers in the late aughts. What followed was…
In town to open the 34th Singapore International Film Festival with her debut feature, Tiger Stripes (2023), Amanda Nell Eu settled into a cafe at…
“I see so much, burns my eyes.” – Godflesh, “Xnoybis” (1994) “I can see, I can see, I’m going blind.” – Korn, “Blind” (1994) In…
The 1960s to early 1970s was a truly utopian moment. In the hangover of Imperial Japan, the concomitant decolonization of the “Third World,” and the…
Appreciating the work of Barry Gerson in recent years has been somewhat difficult. His work remains noted in high regard when it’s shown and mentioned,…
Kit Zauhar should probably be one of the shining bastions of American independent cinema today. Her two features to date represent two forms of the…
Cinematographer and film critic Carson Lund moves to the director’s chair with Eephus, a laid-back comedy following a ragtag group of men as they play…
s1e1 – “Pilot” I have been thinking about Robin Wood and playing foxtail in a front yard that smelled like Sugar Maple leaves and garage…
Your films have been widely described as having thematic preoccupations with the future and its anxieties, but at the same time they also are imbued…
Long whispered about by in-the-know cinephiles but seldom seen in American theaters, Greek director Antoinetta Angelidi’s long overdue U.S. debut comes courtesy of Prismatic Ground…
A quince tree in full fruit, September 30. This is the moment. Antonio López García prepares his canvas; he sets his easel; he colors his…
**The following discusses the endings of Monster and Evil Does Not Exist. “Movies are the most powerful empathy machine in all the arts,” Roger Ebert…
With our own culture marginalized, when it isn’t being stripped for its most clean and convenient parts, queer people have often taken back from the…
The “gay bathhouse” comes from a rich and storied tradition, from 15th-century Florence to 19th-century Paris to 20th-century New York City. Featuring an assortment of…
Viewed from one angle, Kevin Jerome Everson’s eclipse studies are as anomalous as the phenomena they capture. Everson’s body of work documents Black life with…