Institutions dedicate extensive effort towards preparing for the future, often implementing protocols that help arrange for the inevitable, but what happens wh...
Thirty or so minutes into Angela Schanelec’s Music, a character makes a startling discovery. We’re inside a prison on the outskirts of an unidentified Greek to...
The singular styles of filmmakers in the Woche der Kritik (aka Berlin Critics' Week) often result in some of the year's most under-appreciated and formally exc...
For anyone keeping tabs on Bas Devos' career, it's notable that the drama of his latest film Here is set in motion by something as benign as a pot of soup. A c...
In Manodrome, cinema's enduring love for frustrated male loners is brought, kicking and screaming, into the cold light of the present day. Set in an unnamed, c...
Purchasing and shooting on celluloid film, especially in this age of closing processing labs, is expensive for large and smaller productions alike: the documen...
The most visceral films are often described as sensory experiences. But how can a visual medium translate the sensations of smell without the aid of a John Wat...
Taking place between March 29 and April 9 at New York's Museum of Modern Art and Film at Lincoln Center, the 52nd edition of New Directors/New Films will comme...
Writing recently about the introduction of video umpires in baseball, of all things, Zach Helfand was skeptical: “accuracy is not the same as enjoyment,” he wr...
To be blunt about it, we’re reaching the sad, maybe inevitable stage where Beau Travail and its famous closing sequence are becoming subject to the dreaded “Se...
